Following its release in 1971, Serge Gainsbourg’s Histoire de Melody Nelson received unparalleled praise and critical acclaim. The album would go on to be recognised as one of the greatest ever French-language records in popular music and the singer-songwriter’s magnum opus.

The French poet’s legacy had already been cemented a couple of years earlier after the controversial release of Je t’aime… moi non plus in 1969. Despite being banned by the BBC and condemned by the Vatican, Gainsbourg and a breathy Jane Birkin climaxed at No.1 in the UK charts and sold millions around the world – proving, if it was ever in doubt, that sex sells.

Having hit the music-buying public’s G Spot, he teamed up with his then actress-model-singer girlfriend again for Histoire de Melody Nelson. Not only does his English muse feature on the cover, semi-naked and clutching a cuddly toy monkey to her bare breast, Birkin also stars as the heroine of the seven-song concept piece. The Lolita-esque tale of a middle-aged man’s lusty dalliance with a teenage girl remains both a provocative and passionate listen today.

Produced by Jean-Claude Desmarty and created in collaboration with conductor Jean-Claude Vannier, the album clocks in at just under 30 minutes. However, this is no premature quickie that is over before it starts, more a progressive exploration of experimentation and inventiveness.

With its seductive arrangements and dramatic orchestration, the record is delivered by some of the finest sessioneers around at the time, including Alan Parker (guitar), Big Jim Sullivan (rhythm guitar), Dave Richmond (bass) and Roger Coulam (keyboards).

Today, nearly 50 years after its release, Melody Nelson’s ghost continues to haunt all avenues of popular music. Portishead collaborated with Birkin on a cover of The Ballad of Melody Nelson and sampled Melody on their remix of Massive Attack’s Karmacoma. The trip-hop pioneers are not alone, artists as eclectic as Faith No More’s Mike Patton, De La Soul, Placebo, Air, Pulp, and REM’s Michael Stipe have all recognised the magnificence of Melody Nelson.

Alt.rock chameleon Beck, once claimed: “There’s an ambition, a conceptual depth to Melody Nelson that’s incredibly hard to pull off but which Gainsbourg does. It’s very cool and its dynamic is genius… It’s one of the greatest marriages of rock band and orchestra that I’ve ever heard.” Gainsbourg would continue to push both boundaries and buttons throughout his career, however nothing would surpass the majesty of his 1971 masterpiece.