"Thank You Satan"

Léo Ferré has been "THE" French arnachic singer and the "poète maudit" of the whole "rive gauche"'s last three decades. Wild, provocative, tormented, he was born on the august 24, 1916 and died on the july 14, 1993. This unique singer-composer-writer-philosopher delivered - during his life time - moving and incendiary material, weaving (record after record) a strong artistic universe intriguing by virtue of its unpredictability. With the likes of Jacques Brel and Georges Brassens, he was an illustrious talent,unique in the french musical landscape.
Needless to say that it was a real challenge to interpret some of his finest songs. But for MICHEL HERMON (vocals), Gérard Barreaux (accordion) and Pierre Michel Sivadier (all workaholics and passionate music lovers), it was
- a tremendous and very gratifying experience -.

So, MICHEL HERMON sings FERRE. On stage, his body juggles with the lights. FERRE's powerful words rise up from his lips, tackling dark issues, exuding their intense poetry,their anger, passion and shivering violence. By his side, Gérard Barreaux's fingers caress the keys of his accordion, delivering secular chords for an all blood and flesh oratorio. Pierre Michel Sivadier combines classical intensity with sheer rhythmic innovation. These three brilliant craftsmen avoid affectedness and mannerism. They just give life to that fabulous and poignant selection of lyrics.....!

20 songs, 20 standards : «L'Homme», «Est-ce Ainsi...», «Vingt Ans», «Le Bonheur», «Rotterdam», «Jolie Môme», «Monsieur William», «Thank You Satan», «Plus Jamais», «A Toi», «Mister Giorgina», «Le Bateau Espagnol», «Pacific Blues», «La Marseillaise», «Tu n'en Reviendras Pas», «La Servante Au Grand Coeur», «Ni Dieu Ni Maître», «Comme à Ostende», «Paris Canaille» and the very brilliant «Avec Le Temps».

"He has a deliciously brazen style and impeccable stagecraft, which let's him summon up Dietrich without erasing himself."
(New York Times)

"Hermon's performance was nothing less than astonishing... He was simply magnificent."
(In Theater)

"Love's voice ". With a calm arrogance, Michel Hermon steps across irony, touches the right chord, deep down, where anguish brings a lump to one's throat, where happiness suddenly becomes a reality."
(Le Monde)

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Evoking her fabulous silouette and indefatigable legend, French poet Jean Cocteau says: "She's got a name that starts like a caress and ends up like a whipping". He was so right. Mystery and glamour are the first things that come to mind when the name MARLENE DIETRICH is mentioned.

First, MICHEL HERMON sang french legend Edith Piaf, then anarchist
poet Léo Ferré.
With his rugged facial features, statuesque physique and classically trained baritone voice, MICHEL HERMON has an uncanny ability to pay homage to his musical idols while retaining his own artistic identity. Chansonnier MICHEL HERMON brings to life the music of german movie icon and goddess of the century MARLENE DIETRICH (1901-1992).

MARLENE DIETRICH always was much more than simply a "Star", more than only an actress or singer - since the beginning of her amazing career she was a trendsetter who created style and fashion, and - most importantly - she lives on as a cultural symbol. A symbol of the decadence of the 1920s, a symbol of glamour and beauty, a symbol of anti-fascism, a symbol of survival and a symbol of sexual freedom.

DIETRICH was both masculine and feminine. She was nicknamed "the best dressed man in Hollywood". She crossed the borders of the gender like no other star before her. In her US debut film Morocco (1930), she introduced herself to American audiences as a completely independent woman from nowhere who dressed like a man, kisses a woman and makes Gary Cooper her "girlfriend". This is the image of DIETRICH everybody knows. Androgyny remained one of the most important parts of her everlasting myth.

MARLENE herself thought the best description of her image was made by Kenneth Tynan who said: "She has sex - but no particular gender". Without doubt: Tynan was right.

When you listen to - Dietrich Hotel - you'll understand why MARLENE is such a perfect character for MICHEL HERMON to play. From song to song, he offers a lovingly swinging tribute that is not only nostalgic but contemporary and thoroughly entertaining. Accompanied on piano by the brilliant Neal Kirkwood (from San Francisco), HERMON interprets The Blonde Venus's well known anthems such as "Johnny", "Black Market",
"The Laziest Gal In Town" or the emblematic "Just A Gigolo".

MICHEL HERMON's "Dietrich Hotel" is not an impersonation of the great MARLENE, but his interpretation cannot help but make an impression on you! Capturing the flavor of the DIETRICH era, HERMON's performances are without peer!

Born in Paris, MICHEL HERMON now lives in New York City and boasts an impressive resumé which encompasses theater, theatrical direction, concert and opera. He now devotes his time entirely to cabaret singing.

Bis bald, Marlene Bis bald

So, MICHEL HERMON sings PIAF. On stage, his body juggles with the lights. PIAF's words rise up from his lips and build an intense universe of rainy streets, sleepless nights, and violent, bleeding passion. By his side, Gérard Barreaux's fingers caress the keys of his accordion, delivering secular chords for an all blood and flesh oratorio.
These two brilliant craftsmen avoid affectedness and mannerism. They just find, back in this rich and popular repertoire, the real thrills and jumps of the human soul. We can hear something of the blues tradition, something Gypsy, like the tsigane trobadours who rhyme their lives with tearful and comical refrains.

16 songs, 16 standards : "La Foule", "L'Accordéoniste", "De l'Autre Côté De La Rue", "Embrasse-Moi", "Enfin Le Printemps", "Padam", "Salle D'attente", "Il n'Est Pas Distingué", "Le Petit Homme", "Comme Moi", "L'Homme à La Moto", "Les Neiges De Finlande", "A l'Enseigne De La Fille Sans Joie", "Bravo Pour Le Clown", "C'Est à Hambourg", "Mon Légionnaire"....