Cunnilingue is an adjective derived from the sexual act of cunnilingus. It's a highly unusual and provocative word to find in a song, especially in a mainstream context, making it instantly memorable and intriguing.
In the song, Serge Gainsbourg uses it to describe a "voix cunnilingue" (cunnilingus voice) coming from the control tower. This personifies the voice in a suggestive and explicit way, hinting at the song's playful and often risqué themes, characteristic of Gainsbourg's style. It's a word that immediately grabs attention due to its rarity and explicit nature.
Serge Gainsbourg was a master of the double meaning, and this song is one of his most famous examples. He builds a whole story around a pilot flying a beat-up old plane, an "Avion fantôme hou hou" [ghost plane, ooh ooh]. The pilot's instruments are broken and he's making a risky landing on a "terrain mou" [soft field]. It all seems like a strange adventure story, with the pilot wondering if he's landed among "cannibales" [cannibals].
But as the song goes on, the metaphor becomes very clear! The pilot's cockpit is invaded by a "haleine de peppermint" [peppermint breath] and he hears a "voix cunnilingue" [cunnilingual voice] from the control tower. The whole flight is a very detailed, and very cheeky, description of a sexual encounter. The final line reveals the destination: "Je suis à Marilou" [I am at Marilou's]. It's a classic Gainsbourg track: funny, clever, and definitely not for kids.
Serge Gainsbourg (1928-1991) was one of France's most influential and provocative singer-songwriters, celebrated for his sharp wit, playful wordplay, and fearless approach to taboo subjects. Born Lucien Ginsburg in Paris to Russian-Jewish immigrant parents, he first made his name writing songs for other French stars before building his own singing career through the 1960s and 1970s.
He moved fluidly between chanson, pop, reggae, and rock, and became internationally known for the breathy 1969 duet "Je t'aime... moi non plus" with Jane Birkin. Songs like "Premiers Symptômes" show his gift for turning dark, personal subject matter, heartbreak and self-destruction, into vivid, darkly funny storytelling. He remains one of the most sampled and studied songwriters in French pop history.