\u2018Sidonie\u2019<\/h2>\n\n\t\t\t![\"Brigitte](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/Sidone_GettyImages-478405890.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jean Claude Pierdet\/INA\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tAlready world famous for several years by 1962, Brigitte Bardot used her film stardom to launch a music career in her late twenties with \u201cSidonie,\u201d a song from the Louis Malle-directed romance in which she starred that year, Vie Priv\u00e9e <\/em>(A Very Private Affair<\/em> in English). A folk number about a woman with many lovers that was perfect for Bardot\u2019s sex symbol status, the song introduced her as both a strummy guitar player and a chanteuse with a voice as light as air, perfect for France\u2019s burgeoning Sixties pop scene.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018La Madrague\u2019<\/h2>\n\n\t\t\t![\"Brigitte](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
![\"Brigitte](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/LaMadrague_1450682721.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Alisdair MacDonald \/Daily Mirror\/Mirrorpix\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tA meditation on summertime sadness decades before Lana Del Rey was born, \u201cLa Madrague\u201d finds Bardot mourning how the wind dishevels her hair on the beach and even sunburns as the backing music ebbs and flows around her. \u201cMy sorrow will be like no one, I will keep it like a friend,\u201d she sings in French as she bemoans returning to the city. The 1963 single, which came off her debut LP Brigitte Bardot Sings<\/em>, proved a big hit in France.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018Moi Je Jouie\u2019<\/h2>\n\n\t\t\t![\"Brigitte](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/BonnieClyde-478464966.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jean Adda\/INA\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tA couple of years after the y\u00e9-y\u00e9 explosion, Bardot put her own bubbly spin on the folky French micro-genre in 1964 with \u201cMoi Je Jouie,\u201d a playful song about dancing cheek-to-cheek and falling in love. In one lyric she sings \u201cYou are my toy\u201d (auguring Madonna\u2019s whole Eighties image), and then \u201cTu crieras bientot \u2018Au secours\u2019<\/em>\u201d (\u201cYou\u2019ll be crying out for help\u201d) a little later. But you can hear the smile in her voice since, for Bardot, it was always just a game.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018Harley Davidson\u2019<\/h2>\n\n\t\t\t![\"Brigitte](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/HarleyDavidson-478400828.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jean Adda\/INAGetty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tBardot first recorded a Serge Gainsbourg composition, \u201cL\u2019Appareil \u00e0 Sous,\u201d<\/a> on 1967\u2019s Brigitte Bardot Sings<\/em>, and it seemed like a perfect pairing. As his star rose with hits for France Gall, like \u201cPoup\u00e9e de Cire, Poup\u00e9e de Son\u201d<\/a> (which won Eurovision in 1965) and the scandalous \u201cLes Sucettes\u201d<\/a> (1967), he found a perfect foil in Bardot, a woman who would embrace the louche double-entendres of a song like \u201cHarley Davidson.\u201d A Sixties rock & roll number about all the things that made Sixties rock & roll great \u2014 motorcycles, good sex, and living fast and dying young \u2014 \u201cHarley Davidson\u201d gained extra notoriety from a 1968 clip of the actress, dressed in leather, straddling a bike as she sang about the machine sending tremors up her back and how \u201cIt doesn\u2019t matter to me to die with the wind in my hair.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018Contact\u2019<\/h2>\n\n\t\t\t![\"28th](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/GettyImages-3400827.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Stroud\/Express\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tA swirl of psychedelic pop that sounds like new wave before new wave existed, the B side to \u201cHarley Davidson\u201d finds Bardot in full sci-fi mode as she sings about a meteorite that pierced her heart with a \u201ccontact\u201d hook that\u2019s impossible to forget. Of course, because it\u2019s a Gainsbourg composition, it\u2019s rife with innuendo as she asks you to take off her spacesuit and remove the stardust from her body, ultimately seeking to rejoin her love with the galaxy. A music video that featured her in a silvery costume hints at the kind of contact she was singing about.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\n\u2018Je T\u2019aime\u2026 Moi Non Plus\u2019<\/h2>\n\n\t\t\t![\"L'actrice](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/MoiNonPlus-599803937.jpg?w=300\")
\n\t\t\t\t\tImage Credit: REPORTERS ASSOCIES\/Gamma-Rapho\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tBardot, who entered into an affair with Gainsbourg in the late Sixties, asked him to write \u201cthe most beautiful love song he could imagine,\u201d according to Sylvie Simmons\u2019 Gainsbourg biography. He obliged with \u201cJe T\u2019aime\u2026 Moi Non Plus.\u201d On the song, she sings, \u201cI love you, I love you\u201d and begs him to come between her thighs, sounding positively orgasmic as, all the while, he sounds more like he couldn\u2019t care less. (Reports from the session say there was only some \u201cheavy petting.\u201d) When Bardot\u2019s husband, Gunter Sachs, caught wind of it, she begged Gainsbourg not to release it. He obliged, only to cut the song again in 1968 with his next flame, Jane Birkin, who sang Bardot\u2019s part in a higher octave; it became his biggest success and one of Birkin\u2019s signature songs<\/a>. Bardot, who regretted missing out on a big hit, finally released her original version with Gainsbourg\u2019s permission in 1986.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018Bonnie and Clyde\u2019<\/h2>\n\n\t\t\t\n\t\t\t\t\tImage Credit: Jean Adda\/INA\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThe other \u201cmost beautiful love song\u201d Gainsbourg wrote for Bardot was \u201cBonnie and Clyde,\u201d a retelling of the criminals\u2019 love story a year after the Warren Beatty and Faye Dunaway movie revived interest in the couple. (Bardot wore her hair like Dunaway\u2019s, not Bonnie Parker\u2019s, in the cover art.) The music evokes the feeling of a noir western as Gainsbourg whispers the lyrics, and Bardot coos the responses and harmonizes the chorus. She stumbles languidly on her syllables while singing her verse, and it only adds to the sexual tension. There\u2019s also a sense of verit\u00e9 to it, since Gainsbourg\u2019s lyrics drew inspiration from Parker\u2019s own poem \u201cThe Trail\u2019s End.\u201d<\/a><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018Comic Strip\u2019<\/h2>\n\n\t\t\t![\"French](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/ComicStrip-612551172.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jack Burlot\/Apis\/Sygma\/Sygma \/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tBardot had to draw from her acting talent for \u201cComic Strip,\u201d a song that finds her filling in Gainsbourg\u2019s vocal with onomatopoeias straight from the funny pages: Shebam! Pow! Plop!\u2005Wiiiiiizz! <\/em>There\u2019s even an English version<\/a> the two recorded that\u2019s even funnier. The pair would attempt the same effect on 1968\u2019s \u201cFord Mustang,\u201d<\/a> a better song overall that could have probably featured Bardot even more than it did.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018Tu Es Venu Mon Amour\u2019<\/h2>\n\n\t\t\t![\"French](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/TuEsVenuMonamour-583021846.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Sygma via Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tYears after her fling with Gainsbourg fizzled, and half a decade after she released what would be her last LP, Bardot still flirted with double-entendre by herself on this 1972 torch song, whose title translates to \u201cYou Came, My Love.\u201d Her vocal glides and pivots over morose, dreamlike arpeggios, conjuring the same sense of ennui as on \u201cLa Madrague\u201d as she pines for the snow to melt and hopes that \u201cdemain la fleur s\u2019ouvrira<\/em>\u201d (\u201ctomorrow, the flower opens\u201d). Other notable Bardot singles from the Seventies include \u201cNue au Soleil\u201d<\/a> (\u201cNaked Under the Sun\u201d) and a cover of Stevie Wonder\u2019s \u201cYou Are the Sunshine of My Life\u201d<\/a> that she recorded as a duet with Sacha Distel.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\n\u2018Toutes Les B\u00eates Sont \u00e0 Aimer\u2019<\/h2>\n\n\t\t\t![\"Brigitte](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/12\/touteLesBettes-949875290.jpg?w=300\")
\n\t\t\t\t\tImage Credit: STILLS\/Gamma-Rapho\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tBardot\u2019s final single, in 1982, paid tribute to her love of animals. After retiring from film around 1973, the actress and singer dedicated most of her time to fighting for animal rights (and, eventually, airing more objectionable far-right beliefs). With lyrics written by songwriter Jean-Max Rivi\u00e8re, Bardot sings, \u201cWhether domesticated or wild, all animals are to be loved.\u201d She donated her royalties from the release to an animal rights group and Greenpeace.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\n
\t<\/p>\n
\n\tAlready world famous for several years by 1962, Brigitte Bardot used her film stardom to launch a music career in her late twenties with \u201cSidonie,\u201d a song from the Louis Malle-directed romance in which she starred that year, Vie Priv\u00e9e <\/em>(A Very Private Affair<\/em> in English). A folk number about a woman with many lovers that was perfect for Bardot\u2019s sex symbol status, the song introduced her as both a strummy guitar player and a chanteuse with a voice as light as air, perfect for France\u2019s burgeoning Sixties pop scene.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tA meditation on summertime sadness decades before Lana Del Rey was born, \u201cLa Madrague\u201d finds Bardot mourning how the wind dishevels her hair on the beach and even sunburns as the backing music ebbs and flows around her. \u201cMy sorrow will be like no one, I will keep it like a friend,\u201d she sings in French as she bemoans returning to the city. The 1963 single, which came off her debut LP Brigitte Bardot Sings<\/em>, proved a big hit in France.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tA couple of years after the y\u00e9-y\u00e9 explosion, Bardot put her own bubbly spin on the folky French micro-genre in 1964 with \u201cMoi Je Jouie,\u201d a playful song about dancing cheek-to-cheek and falling in love. In one lyric she sings \u201cYou are my toy\u201d (auguring Madonna\u2019s whole Eighties image), and then \u201cTu crieras bientot \u2018Au secours\u2019<\/em>\u201d (\u201cYou\u2019ll be crying out for help\u201d) a little later. But you can hear the smile in her voice since, for Bardot, it was always just a game.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tBardot first recorded a Serge Gainsbourg composition, \u201cL\u2019Appareil \u00e0 Sous,\u201d<\/a> on 1967\u2019s Brigitte Bardot Sings<\/em>, and it seemed like a perfect pairing. As his star rose with hits for France Gall, like \u201cPoup\u00e9e de Cire, Poup\u00e9e de Son\u201d<\/a> (which won Eurovision in 1965) and the scandalous \u201cLes Sucettes\u201d<\/a> (1967), he found a perfect foil in Bardot, a woman who would embrace the louche double-entendres of a song like \u201cHarley Davidson.\u201d A Sixties rock & roll number about all the things that made Sixties rock & roll great \u2014 motorcycles, good sex, and living fast and dying young \u2014 \u201cHarley Davidson\u201d gained extra notoriety from a 1968 clip of the actress, dressed in leather, straddling a bike as she sang about the machine sending tremors up her back and how \u201cIt doesn\u2019t matter to me to die with the wind in my hair.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tA swirl of psychedelic pop that sounds like new wave before new wave existed, the B side to \u201cHarley Davidson\u201d finds Bardot in full sci-fi mode as she sings about a meteorite that pierced her heart with a \u201ccontact\u201d hook that\u2019s impossible to forget. Of course, because it\u2019s a Gainsbourg composition, it\u2019s rife with innuendo as she asks you to take off her spacesuit and remove the stardust from her body, ultimately seeking to rejoin her love with the galaxy. A music video that featured her in a silvery costume hints at the kind of contact she was singing about.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tBardot, who entered into an affair with Gainsbourg in the late Sixties, asked him to write \u201cthe most beautiful love song he could imagine,\u201d according to Sylvie Simmons\u2019 Gainsbourg biography. He obliged with \u201cJe T\u2019aime\u2026 Moi Non Plus.\u201d On the song, she sings, \u201cI love you, I love you\u201d and begs him to come between her thighs, sounding positively orgasmic as, all the while, he sounds more like he couldn\u2019t care less. (Reports from the session say there was only some \u201cheavy petting.\u201d) When Bardot\u2019s husband, Gunter Sachs, caught wind of it, she begged Gainsbourg not to release it. He obliged, only to cut the song again in 1968 with his next flame, Jane Birkin, who sang Bardot\u2019s part in a higher octave; it became his biggest success and one of Birkin\u2019s signature songs<\/a>. Bardot, who regretted missing out on a big hit, finally released her original version with Gainsbourg\u2019s permission in 1986.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe other \u201cmost beautiful love song\u201d Gainsbourg wrote for Bardot was \u201cBonnie and Clyde,\u201d a retelling of the criminals\u2019 love story a year after the Warren Beatty and Faye Dunaway movie revived interest in the couple. (Bardot wore her hair like Dunaway\u2019s, not Bonnie Parker\u2019s, in the cover art.) The music evokes the feeling of a noir western as Gainsbourg whispers the lyrics, and Bardot coos the responses and harmonizes the chorus. She stumbles languidly on her syllables while singing her verse, and it only adds to the sexual tension. There\u2019s also a sense of verit\u00e9 to it, since Gainsbourg\u2019s lyrics drew inspiration from Parker\u2019s own poem \u201cThe Trail\u2019s End.\u201d<\/a><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tBardot had to draw from her acting talent for \u201cComic Strip,\u201d a song that finds her filling in Gainsbourg\u2019s vocal with onomatopoeias straight from the funny pages: Shebam! Pow! Plop!\u2005Wiiiiiizz! <\/em>There\u2019s even an English version<\/a> the two recorded that\u2019s even funnier. The pair would attempt the same effect on 1968\u2019s \u201cFord Mustang,\u201d<\/a> a better song overall that could have probably featured Bardot even more than it did.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tYears after her fling with Gainsbourg fizzled, and half a decade after she released what would be her last LP, Bardot still flirted with double-entendre by herself on this 1972 torch song, whose title translates to \u201cYou Came, My Love.\u201d Her vocal glides and pivots over morose, dreamlike arpeggios, conjuring the same sense of ennui as on \u201cLa Madrague\u201d as she pines for the snow to melt and hopes that \u201cdemain la fleur s\u2019ouvrira<\/em>\u201d (\u201ctomorrow, the flower opens\u201d). Other notable Bardot singles from the Seventies include \u201cNue au Soleil\u201d<\/a> (\u201cNaked Under the Sun\u201d) and a cover of Stevie Wonder\u2019s \u201cYou Are the Sunshine of My Life\u201d<\/a> that she recorded as a duet with Sacha Distel.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tBardot\u2019s final single, in 1982, paid tribute to her love of animals. After retiring from film around 1973, the actress and singer dedicated most of her time to fighting for animal rights (and, eventually, airing more objectionable far-right beliefs). With lyrics written by songwriter Jean-Max Rivi\u00e8re, Bardot sings, \u201cWhether domesticated or wild, all animals are to be loved.\u201d She donated her royalties from the release to an animal rights group and Greenpeace.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\n\u2018La Madrague\u2019<\/h2>\n
\u2018Moi Je Jouie\u2019<\/h2>\n
\u2018Harley Davidson\u2019<\/h2>\n
\u2018Contact\u2019<\/h2>\n
\u2018Je T\u2019aime\u2026 Moi Non Plus\u2019<\/h2>\n
\u2018Bonnie and Clyde\u2019<\/h2>\n
\u2018Comic Strip\u2019<\/h2>\n
\u2018Tu Es Venu Mon Amour\u2019<\/h2>\n
\u2018Toutes Les B\u00eates Sont \u00e0 Aimer\u2019<\/h2>\n