1.Blue Country (Home Made Ice Cream) 	3:10 	
2.Faut Pas Faire De La Peine A John (You Don't Mess Around With Jim) 	3:07 	
3.Un Baby, Bébé (My Kind Of Woman) 	2:50 	
4.On Se Connait Par Coeur (Promises) 	3:34 	
5.Polk Salad Annie 	4:12 	
6.La Fille Du Shérif (High Sheriff) 	3:38 	
7.La Saison Du Blues (The Change) 	3:20 	
8.Joe Macho (Lustful Earl And The Married Woman) 	3:20 	
9.Si Je Dis "Je T'Aime" (I've Got A Thing About You Baby) 	2:30 	
10.Le Marché Aux Puces 	4:20 

Musicians:
Joe Dassin – guitar, vocals
Tony Joe White – guitars, harmonica
Fred Tackett - guitar
Mike Utley – keyboards
J.D. Maness – steel guitar
Derrell Leonard, Lee Thornburg, Walter Fowler – trumpet
Bruce Fowler, Dwight Smith – trombone
Jules Chakin – violin leader
Gregory Smith, Jerry Peterson – tenor saxophone
Beverly Smith – baritone saxophone
Denis Belfield, "Dick" Dunne – bass
Sammy Creason – drums
M.L. Benoit – persussion
Mike Utley – arranger, director

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01. Le Chemin De Papa 2:28
02. Le Petit Pain Au Chocolat 3:23
03. Les Champs-Elysees 2:37
04. Siffler Sur La Colline 2:37
05. Mon Village Du Bout Du Monde 3:18
06. Me Que Me Que 2:37
07. Ma Bonne Etoile 2:38
08. Un Peu Comme Toi 2:59
09. La Bande A Bonnot 2:49
10. La Violette Africaine 3:27
11. Le Temps Des Oeufs Au Plat 2:51
12. Sunday Times 2:22

Si la chanson-phare de l’album, « Les Champs-Élysées », standard indépassable de Joe Dassin, domine évidemment les autres morceaux de la tête et des épaules, le disque sans titre (nommé par défaut Les Champs-Élysées ou Le Chemin de Papa, titre en ouverture) nous propose également des chansons qui, pour être moins connus, n’en constituent pas moins des bons crus du répertoire du franco-américain.

Ballades bucoliques ou nostalgiques (« Mon village du bout du monde », « Le Petit pain au chocolat »), chansons à la saveur simili-exotique (« Me Que Me Que ») et morceaux semi-parodiques dans l’inspiration des « Dalton » (« La Bande à Bonnot ») permettent d’apprécier la plasticité du talent de Joe Dassin, sortant victorieusement de sa confrontation avec des registres fort variés. --- Benjamin D'Alguerre, amazon.fr

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CD1
01. Et si tu n’existais pas
02. Cécilia
03. La fleur aux dents
04. Salut les amoureux
05. Depuis l’année dernière
06. Le petit pain au chocolat
07. Siffler sur la colline
08. Le chemin de papa
09. Dans les yeux d’Emilie
10. Ma bonne étoile
11. Je change un peu de vent
12. Ca m’avance à quoi?
13. Le marché aux puces
14. Le grand parking
15. Le temps des oeufs au plat
16. Salut
17. Guantanamera
18. Mé qué mé qué
19. L’Amérique
20. Les champs-Elysées

CD2
21. L’équipe à Jojo
22. Les Dalton
23. La complainte de l’heure de pointe (A vélo dans Paris)
24. La bande à Bonnot
25. Il faut naître à Monaco
26. Excuse me lady
27. Le moustique
28. Viens voir le loup
29. Tout bébé a besoin d’une maman
30. Comme la lune
31. Pauvre doudou
32. Bip bip
33. Vade retro
34. La Luzerne
35. Taka Takata (La femme du Torero)
36. Un cadeau de papa
37. Un garçon nommé Suzy
38. Côté Banjo, côté violon
39. Billy le Bordelais
40. Fais-moi de l’électricité

CD3
41. L’été Indien
42. A toi
43. Mon village du bout du monde
44. Marie-Jeanne
45. Le café des 3 colombes
46. Ca va pas changer le monde
47. Les plus belles années de ma vie
48. Si tu t’appelles mélancolie
49. Happy birthday
50. Ton côté du lit
51. La première femme de ma vie
52. Le château de sable
53. Il était une fois nous deux
54. Un lord Anglais
55. La demoiselle de déshonneur
56. Dans la brume du matin
57. Ma musique
58. Le jardin du Luxembourg 

American expatriate Joe Dassin was one of France's most popular singers during the late '60s and '70s, initially building his name with stylized adaptations of folk and country material from his birthplace. As his career blossomed, Dassin turned increasingly to traditional-style chansons penned by some of the genre's best writers, scoring an all-time classic with his 1975 smash "L'Eté Indien." Notorious for his perfectionism, Dassin could play the introverted romantic, but his persona also played off of American archetypes and imagery. His premature death of a heart attack in 1980 robbed French pop of one of its greatest modern-day practitioners.

Joseph Ira Dassin was born November 7, 1938, in New York City. His father was future film director Jules Dassin, and his mother was Hungarian violinist Beatrice Launer. In 1940, the family moved to Los Angeles to further Jules' highly promising directing career; however, it was interrupted when he fell victim to the McCarthy-era blacklist. Moving to Europe in search of work, the family lived a migratory existence for a time, and finally settled in Paris in 1950. Joe's parents divorced in 1956; stung, he returned to the United States and enrolled at the University of Michigan, where he studied medicine and anthropology. In his free time, he worked as a radio DJ, and began singing folk songs and Georges Brassens compositions around the area with another French-speaking student. After returning to France, Dassin worked some low-level jobs in the film industry, including a few small parts in his father's movies; he also worked in radio and wrote freelance articles for Playboy and The New Yorker.

In late 1964, at the urging of his future wife Maryse, Dassin made a demo recording for CBS France that turned some heads; soon, the label made him its first French signer. His debut single was "Je Change un Peu de Vent," an adaptation of the American folk song "Freight Train" with additional lyrics by Jean-Marie Rivat (who would become a frequent Dassin collaborator). It flopped, as did two EPs released in 1965. However, 1966's "Bip Bip" -- an adaptation of John D. Loudermilk's "Road Hog" -- was a hit, and CBS subsequently teamed Dassin with one of France's top producers, Jacques Plait. Minor hits in "Ça M'avance à Quoi?" and "Excuse Me, Lady" followed, but Dassin's career really took off when he was tapped to host the inaugural MIDEM music festival at Cannes in 1967; well covered by the French media, it gave him crucial exposure. Not long after, Dassin collaborated with Jean-Michel Rivat and Frank Thomas on an original work, the gunfighting-cowboy ballad "Les Dalton." Dassin had intended to give the song to another singer, but recorded it himself at Plait's vehement insistence; the result was a breakthrough smash hit, one that made Dassin a genuine star. His deep, charismatic voice and good looks made him highly popular with female audiences, but his American roots also lent him a certain novelty, a link to the free open spaces and flower-child optimism of his native country.

Dassin had further success in the late '60s with hits like "Marie-Jeanne" (a version of Bobbie Gentry's "Ode to Billie Joe"), "Siffler sur la Colline" ("To Whistle on the Hill"), "La Bande à Bonnot," and "Le Petit Pain au Chocolat." He suffered a minor heart attack in 1969, but recovered to make a triumphant appearance at the Olympia in Paris later that year, and scored his biggest hit yet with "Les Champs-Elysées," an international smash that broke him across Europe. Further hits followed in 1970 with "L'Amerique" and "Cécilia" (the Simon & Garfunkel song), both adapted by legendary French songwriter Pierre Delanoé; he and Claude Lemesle gradually replaced Rivat and Frank Thomas as Dassin's primary suppliers of material. "La Fleur aux Dents" and "L'Équipe de Jojo" were successes in 1971, and the following year, amid heavy international touring, Dassin bought a second home in Tahiti.

1973 started well for Dassin, as "Le Moustique" and "Salut les Amoureux" became enormous hits. Sadly, though, his wife gave birth to a premature son who died not long after; always moody and private anyway, Dassin sank into a deep depression that effectively stalled his career for over a year. He recovered his momentum in late 1974 with the singles "Si Tu T'appelles Melancolie" and "Vade Retro," and in 1975 he scored the biggest hit of his career, the French pop classic "L'Été Indien" ("Indian Summer"), which was adapted by Delanoé and Lemesle from an Italian song ("Africa," by Albatros). "L'Été Indien" kicked off probably the most successful period of Dassin's career; over the next two years, he landed smash after smash, including "Et Si Tu N'existais Pas," "Salut," "Ça Va Pas Changer le Monde," "Le Jardin du Luxembourg," and "À Toi."

Dassin divorced his wife in 1977 and married his new girlfriend early the next year. His first child was born later in 1978; by that time, disco had begun to take over the French music scene, and a new generation of pop singers were also making their presence felt. Dassin kept pace with "Si Tu Penses à Moi," a disco-reggae adaptation of Bob Marley's "No Woman No Cry," but although his international tours continued to sell out, the momentum of his recording career began to falter somewhat. He performed at the Olympia for what proved to be a final time in 1979; by the end of the year, his second marriage was on the rocks, and he suffered a heart attack. Early in 1980, not long after the birth of his second child, Dassin's marriage officially broke up. With his personal life in turmoil, and feeling the pressure for a comeback hit, Dassin suffered a heart attack that summer; while in the hospital, he also underwent surgery for a stomach ulcer. Nonetheless, Dassin attempted to make his way to his second home in Tahiti for a break from the pressure. During a layover in Los Angeles, Dassin suffered yet another heart attack; still, he pressed on with the journey. On August 20, 1980, while dining in a restaurant in Papeete, Tahiti, Dassin suffered a final, fatal heart attack; he was not quite 42 years old. ---Steve Huey, Rovi

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