Maman Papa- Patachou's role in his first recording

The vital moment in the launch of Georges Brassens career came in in March 1951, when the popular young singer Patachou sang his songs at her cabaret,  She called the composer up onto the stage to sing - a nervous young man with a big moustache. The audience immediately recognised his talent and greeted him with acclaim 

Patachou and Brassens sang this song "Maman Papa" in duet on Brassens' first ever recording in 1952.  It was issued on on a 78 r.p.m. disc and their accompaniment was the orchestra of Leo Clarens.  

Patachou continued her support of Brassens' music and in December 1952 she released a long-playing record of her own rendition of a number of Georges Brassens songs.  The disc is entitled: "Patachou chante Brassens"

It was through Patachou that he had met the bass player, Pierre Nicolas, an accomplished musician.  He was to become Brassens' long- serving accompanist, who  gave him the solid support he needed to perform in public - always an ordeal for Brassens.

Fans of Brassens feel a deep sense of gratitude to Patachou and I have more to say about her below.

Maman, Papa Maman,(1) maman, en faisant cette chanson, Maman, maman, je r'deviens petit garçon, Alors je suis sage en classe Et, pour te fair' plaisir, J'obtiens les meilleures places, Ton désir. Maman, maman, je préfère à mes jeux fous, Maman, maman, demeurer sur tes genoux, Et, sans un mot dire, entendre tes refrains charmants, Maman, maman, maman, maman. Papa, papa, en faisant cette chanson, Papa, papa, je r'deviens petit garçon, Et je t'entends sous l'orage User tout ton humour(2) Pour redonner du courage A nos cœurs lourds. Papa, papa, il n'y eut pas entre nous, Papa, papa, de tendresse ou de mots doux, Pourtant on s'aimait, bien qu'on ne se l'avouât pas, Papa, papa, papa, papa. Maman, papa, en faisant cette chanson, Maman, papa, je r'deviens petit garçon, Et, grâce à cet artifice,(3) Soudain je comprends Le prix de vos sacrifices, Mes parents. Maman, papa, toujours je regretterai, Maman, papa, de vous avoir fait pleurer Au temps où nos cœurs ne se comprenaient encor' pas, Maman, papa, maman, papa.

Mama, Daddy Mama, Mama, while doing this song, Mama, Mama, I become a little boy again, So, I am good at school And to make you happy, I get awarded the top marks, What you want. Mama, Mama, I prefer to silly games, Mama, Mama, remaining on your lap, And, with no word said from me, hearing your charming songs, Mama, Mama, Mama, Mama. Daddy, Daddy, while doing this song, Daddy, Daddy, I become a little boy again  And I hear you mid the storm Use all your sense of fun To restore some courage To heavy hearts. Daddy, Daddy, there never was between us, Daddy, Daddy, tenderness or sweet words, Yet we loved each other, though never was it avowed, Daddy, Daddy, Daddy, Daddy. Mama, Daddy, while doing this song, Mama, Daddy, I become a little boy again, And, thanks to this artifice, All at once I know What your sacrifices cost you, My parents. Mama, Daddy, I will always be sorry, Mama, Daddy, to have made you both cry At a time when hearts still misunderstood each other, Mama Daddy, Mama, Daddy.

The autobiographical content of this song

This is a very different and a very special Brassens song.  It is the first song that Brassens wrote, having been composed at the work camp in Basford in 1943. 

It is a plain and simple expression of deep personal sentiment.  It cannot be anything else, because he is telling his parents of his unending feelings of love and gratitude towards them and apologising to them for his public misconduct in a wild period of adolescence.  This behaviour disgraced the family and caused them so much distress and pain.  I have told the story of this incident in a short biography at The story of Georges Brassens and his Jeanne

Translation notes

1)               Maman - In Britain, at least, children of different social class have different names for their mothers.  “Mamma” (Pronounced “Mammah) is for the very posh.  “Mummy” is very middle class.  “Mum” or Mam” are used by the lower classes, to which the Brassens family belonged, but the words are not in the least poetic sounds and so some compromise is required.

2)                Humour – The English word “Humour” has two different meanings that are translated by two different words in French: “Humeur” amd “Humour”.

English meaning One = Sense of fun - translated in French “l’Humour” e.g “Il n’a pas le sens de l’humour = He has no sense of humour. - Je ne vois pas où est l’humour = “I don’t see anything funny in that.”

English meaning Two = Mood or temper- translated in French “l’Humeur” e.g. “être de bonne/mauvaise humeur to be in a good/bad temper.- Il n’est pas d’humeur à  étudier = He is in no mood to study.

3)                Artifice- The artifice is for him to become a young child again to know these existing emotions as a grown man.

Patachou (1915 -2015)

Patachou, whose real name was Henriette Ragon, was born in 12^th arrondissement of Paris in 1915.  First working as a secretary, she was forced during the war to work in a factory,where she met her future husband, Pierre Billon.

The war over, in 1948, the couple bought a cake shop/tea shop, close to La Place du Tertre in Monmartre, adding a restaurant for which they engaged an accordionist to lead their customers in song.

It was soon noticed that the patronne had a very good voice, and one customer, Maurice Chevalier, encouraged her to do take up singing.  This she did using the nickname that Henriette had been given earlier “Lady Patachou”. Her first concert tour was great success and she recorded her first record in 1950.

Their restaurant became a real cabaret which hosted many contemporary stars.  We have told of the arrival of Georges Brassens there already.

By the mid-1950s she was a popular singer, appearing at major venues not only across France but in Britain and America- North and South.

At this time she was also enticed into filming, appearing in Renoir’s “French Cancan” in 1954.

After years of successful international concert tours, she began in the early 1980s to concentrate more on acting both in cinema and on television appearing in 14 productions between 1986 and 2003.

She died on the 30^th April 2015 shortly after her hundredth birthday

Patachou was one of the outstanding personalities in French show business in the second half of the 20^th century.  Her particular gift was a vibrant singing voice and her ability to convey the dramatic undertones.

She was for decades the ambassadress of French song and so I was amazed when I put together these biographical notes  that the Internet was assailing me with reports about her "banned  song".

This was a song called either “La Chose” or "Les ratés de la Bagatelle", which she recorded in 1959, but which was banned on French radio because the subject was different ways of making love.

In fact this is a gently amusing song that would not shock a modern audience. I am using it to illustrate the art of the great Patachou.

Y a ceux qui font la chose En regardant l' plafond Ou en comptant les mouches Qui sont su' l' guéridon Y a ceux qui font la chose En pensant à l'argent Et ceux qui n' pensent à rien Parce que c'est fatigant. Y a ceux qui font la chose En s' demandant pourquoi Et ceux qui font la chose Comme s'ils étaient en bois Ceux qui pendant la chose Se mettent à bégayer Et qui s'étonnent après D'avoir des quintuplés Y a ceux qui font la chose En chantant une chanson En battant la mesure En tapant du talon Y a ceux qui font la chose Toujours un peu distants Parce que c'est l' seul moyen Pour avoir des enfants Ceux qui pendant la chose Poussent des cris violents Pour que les voisins croient Qu'ils passent un bon moment Y a ceux qui font la chose Sans passion ni désir Parce que c'est le seul truc Qui fasse vraiment maigrir Y a ceux qui font la chose Pour battre des records Tous ceux dont les appâts Ne sont qu'un livre d'or. Y a ceux qui font la chose Avec des accessoires Qu'ont besoin d'une trompette Ou bien d'une balançoire Ceux qui lorsque la chose Est déjà terminée Se demandent si la chose Va bientôt commencer Y a ceux qui font la chose Pas pour les sensations Une seule fois dans l'année Pour les allocations Ils ont l'oeil triste, le cou tendu Les ratés de la bagatelle Ils font la chose en pardessus Les ratés du fruit défendu Car tous ceux à qui La chose ne fait rien N'aiment pas ceux à qui La chose fait du bien

There are those who do the thing Looking at the ceiling Or counting the flies Which are on the coffee table There are those who do the thing Thinking about money And those who think of nothing Because it's tiring. There are those who do the thing While they’re wondering  why And those who do the thing As if they’re in the woods Those who during the thing Begin a strange stammer And after are surprised To produce quintuplets. There are those who do the thing While they're singing a song Beating out the rhythm By striking with their heels There are those who do the thing Always somewhat far off Because that's the sole way For them to have children. Those who during the thing Emit violent screams So the neighbours might think They’re having a  good time. There are those who do the thing Without passion or desire ‘cause it’s the sole device That really makes them slim. There are those who do the thing To get in record books Those for whom the attractions Are just in winning gold. There are those who do the thing Using accessories Those who need a trumpet Or else a garden swing. Those who when the thing Is already over Are wond’ring if the thing Is going to start up soon. There are those who do the thing Not for the sensation But one single time a year For the state benefits They're sad of the eye, Stiff of the neck Those who miss right out at this  game They do the thing with overcoats on Those who miss  the forbidden fruit Because all those for whom The thing does not matter Don't like those for whom The thing does you good.

Pleaseclick here to return to the alphabetical list of my Brassens selection