Maxi Danse by Jo Destré: A Schlager-Pop Time Machine You Didn’t Know You Needed
Alright, let’s talk about Maxi Danse, the kinda wild but totally fun album from French artist Jo Destré. Released under Milan and SPI, this record is like a musical melting pot that somehow works. It’s got Schlager vibes with a Pop twist—basically, it's as if your cool French uncle decided to throw a party in 1985 and invited everyone he knew. The result? Something chaotic, heartfelt, and oddly unforgettable.
First off, kudos to Jo Destré for wearing so many hats here—he arranged, conducted, and probably made coffee during breaks (okay, maybe not). With talents like Alain Locage on bass, Jean-François Minus smashing drums, and Dino Leonardi shredding guitar, the sound feels alive. Like…really alive. And don’t get me started on Roland Leclercq’s engineering work—it’s crisp enough to make you feel like you’re sitting right there in the studio.
Now, onto the tracks. This album has a lot of songs—I mean, A LOT—but two stood out to me like neon signs at midnight: "Rue Du Musette" and "Hier Encore."
“Rue Du Musette” hits different. From the first accordion riff (yes, there’s an accordion), it feels like stepping into a Parisian café where everyone knows each other’s secrets. There’s something nostalgic yet fresh about it—it doesn’t try too hard to impress you, which makes it even better. I found myself humming it while brushing my teeth last night, which is always a good sign. Plus, the mix of traditional French musette with modern production tricks just clicks. It’s like meeting an old friend who’s been working out—you recognize them immediately, but they’ve leveled up.
Then there’s “Hier Encore,” a cover of Charles Aznavour’s classic. Now, covering Aznavour is like trying to remake spaghetti carbonara—it better be damn good or people will roast you. But Jo pulls it off. His version keeps the soul of the original but adds a bouncier rhythm and brighter instrumentation. It’s less sad-sigh and more happy-cry. Listening to it felt like finding an old photo album—you remember why these moments mattered in the first place.
And can we take a sec to appreciate the sheer variety here? Between covers like “Guantanamera” and originals like “Les Plaisirs Démodés,” the album jumps genres faster than a cat chasing a laser pointer. One minute you’re swaying to romantic ballads, the next you’re tapping your feet to upbeat dance numbers. Honestly, it shouldn’t work, but it does. Maybe because Jo trusted his instincts—or maybe because he secretly wanted to confuse Spotify algorithms.
Looking back, Maxi Danse isn’t perfect. Some tracks feel dated (hello, ‘80s synths), and others might leave you wondering what exactly you just listened to. But that’s part of its charm. It’s messy, bold, and unapologetically itself—a bit like life.
So yeah, give this album a spin if you want to hear something that defies easy labels. Just don’t blame me when you catch yourself dancing alone in your kitchen to “Volare.” Oh, and one final thought: whoever added “Effects - Dan Laksman” to the credits deserves extra points. Because sometimes, life needs a little extra sparkle—and so does music.
