The late sixties in America felt like a constant sonic battle between fuzz-drenched guitar riffs and acid-tinged studio experimentation. The charts were a vibrant, noisy landscape of cultural revolution. Yet, for five remarkable weeks in 1968, the undisputed champion of the Billboard Hot 100 was a piece of sophisticated, instrumental easy listening pop from France. That piece of music was Paul Mauriat‘s arrangement of “Love Is Blue.”
I was too young to experience the shockwave in real-time, but I remember the atmosphere it lingered in: the hushed sound of hotel lobbies, the soundtrack to dinner parties in the more conservative suburbs. It was the sound of European glamour gently seeping into the American consciousness, a home audio centerpiece that stood in stark contrast to the grit of rock and roll. It was, in a strange way, just as revolutionary—a statement that pop accessibility and orchestral ambition could still conquer all.
This track wasn’t just a hit; it was a watershed moment. It was the first recording by a French artist to top the American singles chart, proving the formidable commercial power of Mauriat’s elegant, yet accessible, orchestral style. It’s an arrangement that demands close attention, a masterclass in texture over bombast.
From Eurovision Ballad to Global Smash
The original song, “L’amour est bleu,” was an emotional French ballad performed by Vicky Leandros for Luxembourg in the 1967 Eurovision Song Contest. Composed by André Popp with lyrics by Pierre Cour (describing love in colours and elements—blue for water, grey for sand), the vocal version placed a respectable fourth. It was a beautiful, melancholy song, but ultimately constrained by the contest’s format.
Enter Paul Mauriat. By 1968, Mauriat was already a seasoned arranger and conductor, having spent years as the musical director for French icons like Charles Aznavour. His own career had been growing through a series of instrumental albums for Philips. His knack for selecting popular songs and transforming them into lush, dynamic orchestral canvases was his signature, and he was the track’s credited arranger and conductor, and reportedly the producer as well. His version of “Love Is Blue” was featured on his 1968 album, Blooming Hits.
Mauriat’s genius was in seeing the melody not as a vehicle for a sad lyric, but as a structure for pure instrumental colour and movement. He took the song’s minor-key sadness and gave it a sunlit, shimmering elegance, trading overt melancholy for a sense of nostalgic, cinematic grandeur.
The Anatomy of the Blue Sound
The immediate, defining characteristic of Mauriat’s arrangement is its bright, percussive opening. The initial texture is not dominated by the strings we might expect from an easy-listening orchestra, but by the distinctive metallic pluck of a harpsichord, immediately setting a baroque, slightly antique tone that feels both classical and contemporary for the era. This riff is instantly recognizable, acting as the song’s rhythmic and harmonic anchor.
Over this crisp, clockwork foundation, the strings begin their ascent. The string section is Mauriat’s true voice. They play with a rich, yet incredibly precise vibrato, gliding through the core melody with a unified, soaring voice that avoids syrupy excess. The phrasing is deliberate, allowing the notes to sustain and then quickly decay, creating a feeling of constant, forward momentum.
The rhythmic backbone is subtle but effective. There is a light, almost invisible percussion section offering gentle shakers and toms that keep the tempo buoyant. A delicate bass line weaves through the strings, providing depth without ever demanding the spotlight. This restraint is key to the entire arrangement’s success.
The primary melodic instrument, weaving through the string swells, is typically a combination of harpsichord and, at times, a bell-like celeste or glockenspiel. The piano itself is often integrated into the middle layer, serving a more harmonic and rhythmic function rather than a strictly melodic one, blending into the tapestry of sound rather than standing out as a soloist. This entire soundscape is recorded with a pristine, roomy clarity that makes it an excellent test case for studio headphones, allowing the listener to clearly separate the different orchestral sections.
Contrast, Narrative, and Legacy
The entire structure is a masterful exercise in controlled dynamics. The song rarely reaches a true fortissimo; instead, it swells, peaks, and retreats with a refined emotional logic. The emotional pull comes not from raw power, but from the lushness of the arrangement, the sheer number of voices all speaking in unified, melodious French-accented harmony. It’s the sonic equivalent of a slow-motion tracking shot across a Riviera coastline.
The cultural impact of this instrumental was enormous. In an era when rock artists were trying to push boundaries with concept albums and extended jamming, Mauriat offered something completely polished and accessible. It bridged the generational divide, appealing to both parents who appreciated its classical elegance and younger listeners who recognized its sophisticated, pop-friendly melody. It was the kind of record that was mass-produced and licensed everywhere, finding its way onto every kind of compilation.
Today, “Love Is Blue” serves as a beautiful, evocative reminder of the sheer artistry required to produce a perfect three-minute pop instrumental. For musicians, studying the work of Mauriat is like taking a masterclass; the arrangement’s complex voicings could easily be transcribed into sheet music to offer profound insight into orchestral pop construction. It is a triumphant fusion of continental classicism and universal pop sensibility, a track that sounds both definitively 1968 and utterly timeless. It cemented Paul Mauriat’s place as a global superstar of the easy-listening genre.
“The genius of Paul Mauriat was in recognizing that a great melody needs not a singer’s voice, but a perfectly tailored orchestral garment to truly soar.”
Its legacy can be heard in everything from film soundtracks to lounge music revivalists. It proved that in the rock era, a sophisticated, wordless symphony could still command the airwaves. It’s a blue that’s anything but sad—it’s the blue of the Mediterranean sky reflecting on a perfect afternoon.
Listening Recommendations: Songs of Orchestral Elegance
- Bert Kaempfert – “Afrikaan Beat” (1962): Shares the clean, precise orchestral arrangement style with a focus on brass and subtle, driving rhythm.
- Ray Conniff – “Somewhere My Love” (1966): Features lush, multi-tracked choral and string arrangements characteristic of mid-century orchestral pop.
- Percy Faith – “Theme from A Summer Place” (1960): The definitive easy listening instrumental predecessor to Mauriat, known for its soaring, romantic string sound.
- Franck Pourcel – “Only You (And You Alone)” (1959): Another French orchestra leader famous for taking pop standards and giving them a high-gloss, European orchestral polish.
- The Carpenters – “Close to You” (1970): Exhibits the same blend of precise piano work and lush, highly structured pop arrangements, albeit with vocals.
- Manuel and the Music of the Mountains – “Rodrigo’s Guitar Concerto De Aranjuez” (1975): Features a majestic, romantic arrangement focused on a classical melody, highly popular in the same easy listening category.
You can listen to the French artist’s original hit from 1968 here: Paul Mauriat ~ Love is Blue (1968).