By Jérôme Goulon.
On December 4th, Guy Bévert, the legendary drummer and singer of The Creole Company, died at the age of 76A death that follows that of José SébélouéClémence Bringtown and Julien Tarquin, who passed away in 2023, are the two surviving members of a group that made entire generations of French people dance. We interviewed the whole group. Clémence, José, Guy, and Julien answered our questions with good humor, candidly reflecting on their incredible career and some of the difficulties they faced at a time when attitudes weren't as open as they are today. We invite you to (re)discover this incredible interview, in tribute to Guy and José…
Jérôme Goulon: You have had an incredible career. Did you ever imagine, at the beginning, that you would be so successful and last so long?
The Creole Company (José): No, honestly, never! We got together, we jammed, and it just took off from there. We never thought it would go this far.
Your song It's good for morale It made you stars. Were you surprised?
Clemence: Yes, that's where it all started. At first, we didn't believe in the success of It's good for moraleWe all thought the song was rubbish! We said to ourselves, "We're not going to sing that!" We couldn't believe it.
So why sing a "lame" song?
Clemence: We were told we needed to reach out to the public. We added our own ingredients and it worked. The Caribbean rhythm had never been combined with a pop song before, and it was this mix that resonated with people!
"At first, we didn't believe in the success of 'C'est bon pour le moral'. We all thought the song was rubbish!"
After singing this song for decades, don't you get an overdose?
José: We must always have the same enjoyment. It must always be like the first time. If we don't sing it with enthusiasm, it's not La Compagnie Créole!
Clemence: In concert, when the first notes are played, people react so strongly, like on the first day, that you can't remain indifferent.
Guy: For me, the overdose came very quickly. But we sing it properly!
Today, many artists who break through are quickly forgotten. They no longer have the same longevity as before. Why?
Clemence: The business has changed. Before, producers were committed to protecting their artists and building long-term careers for them. Now, they make quick fixes, one shot.
José: One shot, yes ! (Laughs) The problem is that nowadays everything happens at once for some people. Young singers are led to believe they've become untouchable superstars. And then, they're abandoned…
Clemence: Yes. They dangle things in front of them, especially on television programs. But then comes the disillusionment. It's sad. I remember Cyril Cinélu, who won the Star AcademyWhen we met him, he was disappointed because he didn't do anything afterwards. The same goes for Cynthia, another candidate from Star AcademyShe gave me her card, saying she was looking to do opening acts. It's tough!
José: The problem with reality TV contestants is that they are quickly replaced.
You could be on the jury of a show like The Voice ?
Clemence: Why not? But it wouldn't change the problem. The issue with this kind of judging panel is that there are coaches who could produce their protégés, but they don't. They're not exactly struggling, after all. They could lend a hand. Perhaps my overly humanitarian side is showing. It's kind of them to coach, but the end of the show should be a beginning, a kind of initiation, not an end in itself. The Voice It benefits the coaches more than the contestants. Many are forgotten despite their talent.
And you, is falling back into anonymity something that scares you?
Clemence: Fear, no! But we're aware that it could all stop. We mustn't rest on our laurels.
Julien: We've seen many artists start out and then fall into oblivion. That's been a learning experience for us.
"It's certain snobbish media outlets that call us old-fashioned."
Some people call you old-fashioned. What do you think about that?
Clemence: I think it's certain snobbish media outlets that call us corny. Kids are still learning our songs, so I don't think young people find us corny! We're popular, and we own it. We thank our fans. And to all those who call us corny, we wish them at least half the career we've had!
You've sold over 60 million albums. You don't need to work anymore?
Clemence: Yes… With all the taxes we've paid! (Laughs)
Are you a spendthrift?
Clemence: It's true we've made a good living. But we've been careful, which allows us to be our own producers today. We've been thrifty, we've invested in our albums, our infrastructure… Our luxury is always being on stage.
José: We don't have the obsession with beautiful cars or the obsession with appearances, compared to some others…
It's true that in 1983, you should have represented France at theEurovisionbut it ultimately didn't happen…
Clemence: That's true. We should have done Eurovision in 1983, but France wasn't ready to be represented by Black people… Normally, we should have won the selection competition. But the organizers gave us second place, and Guy Bonnet won.
"In the West Indies, we were called The French Company, or The guys who play for the whites."
In your opinion, has this changed?
José: For me, no. There are always little things. For example, we received the award for best French-language show in Canada, and we never talked about it!
Clemence: What struck me was that we were voted France's favorite group in 2010, receiving the Marianne trophy, and nobody talked about it. The following year, an artist was chosen, and the media covered it. But attitudes have changed. Now, people in mainland France know where the French West Indies are. Of course, you'll always find people with prejudices…
And paradoxically, at the beginning of your career, you were viewed unfavorably in the West Indies…
Clemence: Yes, in the French West Indies, we were called "The French Company," or "the guys who play for the white people." There are some very nationalistic people in the French West Indies. When we sang "It's good for morale," we were criticized because we sang in French. It was considered high treason.
José: But that has changed. Rastas stop us in the street and thank us for everything we have done.
Clemence: Yes, now the "zouk singers" sing in French without any problem!
You've been together for decades. Do you still get along as well?
José: There are often clashes between us, it's part of our union.
Clemence: Yes, it's like a big wedding. There are days when everything goes well, and others when it's stormy. But we're happy to be together. Cheerfulness and optimism are our trademarks!
Julien: Yes, I remember that when we need to party in France, they call us! (Laughs)
