After Dany Saval and I had finished filming Les Parisiennes I was asked to replace her in the song from the film: “C’est Bien mieux comme ça.” I loved a strong rhythm and I loved Eddy Mitchell’s voice, though after the song was done a queasiness came over me when I thought of Dany, and myself.
  Only a few weeks before Daniel Filipacchi had presented me with “Panne d’essence”: I would sing it with Frankie Jordan. For Daniel I wanted to be better than plain perfect. In the original version the girl’s voice was higher than mine so I rehearsed to get the sound right and waited and rehearsed and it seemed to me that weeks went by and then a cute version with Frankie and Sylvie Vartan came out.
  Convinced I had done something unforgivably awful, for a while I was melancholic.
  Years later suddenly Daniel told me the story of “Panne d’essence”, which by then I had forgotten about. It was a simple one. The head of my record company Eddie Barclay believed his little English singer would be a “star” without Daniel’s help. Was it possible that Eddie did not appreciate Daniel, the one person who not only knew everything about the music I loved, but the first and only one who played it to a whole country for kid’s my age. Every day, on Europe 1, Salut les Copains from 5 to 7pm.
  I found it all hilarious. And touching. I hadn’t realized how much Eddie believed in me. It is true that he loved the sugar sweet sexy teenager who sang about kisses and love without knowing exactly that much about it but sang it with so much feeling because she really did care a lot about the man she would meet. Some day.
  After my voice test in the studio I became his little Marilyn Monroe, he gave me “Let’s make love” and “Specialisation” to sing with Eddy Constantine, and “Zou Bisou Bisou”, and many others, but I wanted to sing Shalalalala with drums and guitars and cry about the boy. That is what I wanted to do.