In spring 1963, Robert Gall encouraged his daughter to record songs and send the demos to the music publisher Denis Bourgeois.

The first airplay of Gall's first single "Ne sois pas si bête" ("Don't Be So Stupid") occurred on her 16th birthday.

She teamed with Distel's business manager Maurice Tézé, a lyricist, which allowed her to create an original repertoire, unlike the majority of her contemporaries who sang adaptations of Anglophone hits.

Examples of this mixed-genre style included "Jazz à gogo" (by Alain Goraguer and Robert Gall) and "Mes premières vraies vacances" (by Jacques Datin and Maurice Vidalin).

Gall and Gainsbourg's association produced many popular singles, continuing through the summer of 1964 with the hit song "Laisse tomber les filles" ("Leave the girls alone") followed by "Christiansen" by Datin-Vidalin.

Her singles continued to chart successfully, including the Gainsbourg-penned "Attends ou va-t'en" ("Wait for me, or go away") and "Nous ne sommes pas des anges" ("We are not angels").

Even dopey hits like "Sacré Charlemagne", a duet with a pair of puppets who were the stars of a children's show on French TV, have an infectious, zesty charm; meatier tunes, like the sultry jazz-tinged ballad "Pense a Moi" and the brilliant rocker "Laisse tomber les filles", were as good as any single produced in the U.S. or Great Britain at the time.

[9]In 1966, her children's song "Les Leçons particulières" ("Private lessons") caused notoriety and displeasure; the same occurred when Jean-Christophe Averty choreographed a troupe of men on all fours to accompany her children's song, "J'ai retrouvé mon chien" ("I've found my dog"), on his television programme Les Raisins verts.

Although the song was ostensibly about a young girl who likes aniseed-flavoured lollipops, plays-on-words in the lyrics implied another meaning, that of oral sex.

[11][12] Gall left for a tour in Japan shortly after the song was released and it has been stated that she felt mistrust for producers until meeting Michel Berger.

[11] At the beginning of 1967, Gall sang "La Petite" in a duet with Maurice Biraud, which describes a young girl coveted by a friend of her father.

[citation needed] This was followed by "Teenie Weenie Boppie", an anti-LSD song by Gainsbourg, which has been described as "a bizarre tune about a deadly LSD trip that somehow involves Mick Jagger".

With this string of recordings in the late 1960s, none of them an unmitigated success, and making the transition from teenage to adult performer, Gall faced some challenges in this period through the early 1970s.

Mason wrote,No longer a teenager, but without a new persona to redefine herself with, (and without the help of Gainsbourg, whose time was taken by his own albums and those of his wife Jane Birkin), Gall floundered both commercially and artistically.

A label change from Philips to BASF in 1972 didn't help matters ..."[9]Although struggling in her home country, Gall regularly recorded in Germany from 1966 to 1972, in particular with the composer and orchestrator Werner Müller.

She had a successful German career with songs by Horst Buchholz and Giorgio Moroder: "Love, l'amour und Liebe" (1967), "Hippie, hippie" (1968), "Ich liebe dich, so wie du bist" ("I love you the way you are") (1969) and "Mein Herz kann man nicht kaufen" ("My heart is not for sale") (1970).

3" (1968), "Ein bisschen Goethe, ein bisschen Bonaparte" ("A bit of Goethe, a bit of Bonaparte"), "I like Mozart" (1969), "Dann schon eher der Piano player" ("I prefer the piano player") (1970), "Ali Baba und die 40 Räuber" ("Ali Baba and the 40 Thieves") (1971), "Komm mit mir nach Bahia, Miguel" ("Come with me to Bahia, Miguel") (1972).

She went her own way in 1969 with two adaptations: one Italian and the other British: "L'Orage/La Pioggia)" ("The Storm") which she sang with Gigliola Cinquetti at the 1969 Sanremo Music Festival, and "Les Années folles" ("Gentlemen Please"), created by Barbara Ruskin.

La Compagnie went bankrupt within three years of its creation, co-founder and singer Hugues Aufray's blaming the failure entirely on Norbert Saada.

The results of her collaboration with Jean-Michel Rivat as artistic director, "La Quatrieme chose" (1972), "Par plaisir" and "Plus haut que moi" (1973) all failed to meet with commercial success.

In 1974, after she sang vocals on the song "Mon fils rira du rock'n'roll" on Berger's new album, Gall's publisher asked him, at her behest, to write for her.

[21] In 1978, pushed by Berger, she again trod the boards of the Théâtre des Champs-Élysées, where she had auditioned 15 years earlier, starring in a show titled Made in France.

The most novel aspect of this show was that, except for the Brazilian drag act Les Étoiles, the members of the orchestra, choir and the dance troupe were exclusively female.

Composed by Michel Berger and written by the Québécois author Luc Plamondon, the rock opera Starmania enjoyed a success not usual for musicals in France.

In 1982, Gall rehearsed in the Palais des Sports of Paris to present Tout pour la musique, an innovative spectacle marked by its use of electronic music.

At the same time, she gave a successful series of concerts lasting three weeks at the new venue Le Zénith in Paris, where she performed new songs like "Débranche" ("Loosen-up"), "Hong-Kong Star", and gave solid acoustic performances of "Plus haut", "Diego libre dans sa tête" and "Cézanne peint".

In 1985 and 1986, Gall worked with Berger, Richard Berry, Daniel Balavoine and Lionel Rotcage [fr] for the benefit of Action Écoles, an organisation of schoolboy volunteers which collects essential food products in France for African countries where famine and drought prevail.

[citation needed] In 1997, she announced her retirement and recorded an unplugged show for French television showcasing songs from her final album.

In January 2010, Gall was portrayed by Sara Forestier[26] in a feature film released in France, Gainsbourg (Vie héroïque), based on the graphic novel by writer-director Joann Sfar.

She staged and appeared in the 2007 France 2 documentary Tous pour la musique, marking the 15th anniversary of Michel Berger's death.