Georges Brassens Comes Alive in English – An Interview with Pierre de Gaillande of Bad Reputation

One of the great songwriters of our time, Pierre de Gaillande plays in more great bands than maybe anybody else on the planet. In addition to fronting the poignantly multistylistic chamber-pop band The Snow, he’s recently resurrected his popular, fierily anthemic art-rock band, Melomane. Yet his current focus is a new project, Bad Reputation, the first American group dedicated to performing English-language versions of the songs of iconic French anarchist chansonnier Georges Brassens. In between rehearsals and the media crush of an upcoming cd release show for its debut on Barbes Records (June 12 at the Bell House), de Gaillande managed to find the time to get a few words in edgewise:

Lucid Culture’s Correspondent: Let’s see if I can get this right: you’re American-born, French ancestry, bilingual in English and French – and speak Russian also, I believe – and according to the PR stuff I have here, your introduction to the work of the iconic French anarchist songwriter came via your professor father, as something of a literary exercise. And for that reason you weren’t particularly fond of Brassens as a kid, is that right?

Pierre de Gaillande: No. I was born in Paris, France to a French father and American mother. I was born with dual citizenship – we lived in Paris for the first seven years of my life. My first language was French, but my mother spoke English to me as a child and I could speak a little English when we moved to the states.

LCC: When did you start listening to Brassens purely for pleasure?

PDG: Brassens was always on in my house when we were growing up. It was part of the musical landscape of our home like the Beatles, Peter Paul and Mary, the Dubliners, the Kingston Trio and a multitude of other French singers. I always liked listening to Brassens. What I didn’t like was my father’s didactic and proprietary attitude towards everything French in general, and Brassens in particular. Which has changed, by the way: Brassens is a topic we definitely connect on these days.

LCC: The work of some French musical icons has insinuated itself into American culture: Piaf and Gainsbourg for example. Is there an explanation for why Brassens never caught on here, or anywhere else in the anglophone world as far as I can tell?

PDG: There are two reasons for this as far as I can tell. One is that the pleasure in Brassens is primarily lyrical. Without an understanding of the lyrics, at least half the point is gone. The other reason is that unlike Brel and Gainsbourg, Brassens never explored any new musical territory in the arrangements of his songs – he kept his arrangement to an acoustic guitar, acoustic bass, his voice, and occasional lead guitar. He only used a lead guitarist live on certain television appearances, never on stage. Just an aside, Brassens’ guitarist for the last ten years of his career was Joel Favreau, who has agreed to come to New York in November to do a Brassens festival at Symphony Space, for which Bad Reputation will be the house band with a bunch of French singers. So this is an extremely proud occasion for me and a chance to come full circle.

So unless you really love this kind of folk guitar music, if you don’t speak French, there aren’t many other points of entry into Brassens’ music besides very catchy melodies and his rich voice. By contrast, Gainsbourg explored all kinds of musical territory, like rock, reggae, funk, and disco, and he pandered to an English-speaking crowd by dropping English in his lyrics constantly. Brassens just didn’t pander. You had to go to him, he wasn’t coming to you.

LCC: What is your motivation in putting out this record? It’s not like you’re riding a wave of Brassens success, or tapping into some vast cultural resonance, at least in this country…

PDG: It’s a lot of fun. And I think it is extremely culturally relevant. This country can definitely use some voices championing what Brassens stood for; a deep love of poetry, history, literary and intellectual achievement, a disdain for consumerism, fanaticism, and the sheep mentality in any form, and a morality based on humane common sense, not religion.

LCC: What would you say was the biggest challenge in translating Brassens? Contemporizing dated slang? Or attempting to maintain both the same rhyme and meter as the original French lyrics?

PDG: The biggest challenge was translating very specific French slang, and deciding when to make the meaning gibe with the original time period, 50s through the 70s, or when to make it sound current. And of course all of it had to rhyme and fit in the same number of syllables if possible. One little example: in the song Penelope the first line is “Toi l’epouse modele, le grillon du foyer.” I chose to translate that literally as “You, the cricket of the hearth; you, the ideal spouse.” As far as I know, “the cricket of the hearth” is not an expression in English, but to me it is such a graceful way of saying “housewife” that I chose to translate it literally. There were scores of decisions to make, and on many occasions I used a current English expression, sometimes I didn’t.

LCC: Brassens was kind of gangsta, he went for shock value every time. I know at least a few of his songs were banned in France. How much of that shock value were you able to maintain – or does any of that still have the capacity to shock, in the era of Fitty and L’il Wayne?

PDG: Brassens was a punk. He just didn’t care what “‘the public” thought of him. If you listen to the song The Pornographer on my cd, you’ll see I tried to leave in all the words that might get bleeped on the radio these days. Does anything shock anymore, I don’t know. What’s more shocking in Brassens is the subject matter; a 13 year old girl who tries to seduce a much older musician (Princess and the Troubadour), a nun who warms up a man’s penis because he has no arms (Don Juan), a marquise who gives a man crabs (Trumpets of Fortune and Fame) and on and on and on…

LCC: Brassens loved double entendres, and he was very good at them – as you are, in your own songwriting with the Snow and Melomane. In translating these songs, did you ever find yourself having to choose one level of meaning over another? How did you handle that?

PDG: Good question. Sometimes I had to compromise or improvise. Bear with me while I give you an example. There is a moment in Penelope where he says “Il n’y a vraiment pas là de quoi fouetter un coeur/Qui bat la campagne et galope” which literally means, “There’s no reason here to whip a heart/Which beats a path into the fields at a gallop.” It’s actually a triple entendre. The first level of meaning is a play on words for “here’s no cause to whip a cat [fouetter un chat]” which basically means there’s no reason to freak out, you need to relax, but he changes it to “whip a heart” so that it fits with the next pun, which is “beating a path.” Now the heart is beating, and it is galloping like a horse in the fields (la campagne.) But “battre la campagne” also means to go on a war campaign. So there are three levels of meaning densely packed in to two lines.

So what I did was keep the heart beating motif, but instead of whipping a heart, I used “swinging a heart” as in “there’s not enough room in here to swing a cat.” This then connected nicely with the beating heart in the second half, “Beating a path to distant fields.” I sacrificed one expression (whipping a cat) and substituted an English one (swinging a cat). The whole project was full of these kinds of verbal gymnastics. It’s a game, and I enjoyed every minute of it.

LCC: Above all – and I think this is the key to his success in France at least – Brassens is hilarious! But a lot of the humor is in the wordplay – it doesn’t translate. Literally. Or does it?

PDG: Some does, some doesn’t. I did my best to capture it. Brassens had about 200 songs in his catalogue, and some of the best ones are untranslatable, but there are many that do work, and that’s my mission. I think there are tons of hilarious moments on this CD.

LCC: The press release here says you’ve deliberately avoided trying to make rock music out of these songs, even to the extent of not utilizing drums on the album. I know that Brassens was not an enormous fan of rock, and that you’re trying to be purist about this. At the same time I can’t help thinking, this guy was pretty punk. You know, the eternal refusenik, he wouldn’t let anybody fuck with him. These songs would kick ass if you turned up the guitar, added more of a beat, brought the vocals up in the mix, don’t you think?

PDG: First off, the vocals are way up in the mix, just as they are in the original. I deliberately did not want to make a rock or “modern” version of Brassens. There is a great band in France called Brassens Not Dead that does hardcore thrash punk versions of Brassens, and they do a fantastic job, and they capture his punk spirit to a tee. There are also tons of crappy “modern versions” of Brassens in France, they are embarrassing and wrongheaded, at least to my ears. The best versions of his stick to the gypsy-jazz folk vibe that inspired him. I wanted this introduction to Brassens for English speaking people to be all about the lyrics. The music is there, and it is artfully executed and arranged by my fantastic band, but it just felt natural to stay away from the drums. The last seven albums I have made were rock albums, and once you start layering sounds and adding instruments, there’s no turning back. I needed to explore having the courage to make my voice the most prevalent sound on the album.

LCC: Can I continue playing devil’s advocate? Where do you get the idea that most Americans – who can’t even find France on a map, let alone have any awareness of who Georges Brassens is or why he might be worth discovering – would have the slightest interest in these songs? Or is there something here that might resonate with at least a cult audience?

PDG: Americans, or anyone else for that matter, can take it or leave it, it’s not up to me to make them like it. I’ve never made music with a concern for how it’s going to be received. Like all of my music, this started with me playing guitar and scribbling notes frantically, by myself in the middle of the night, completely absorbed in a fascinating pursuit. I think there are a lot of people out there who like a good melody attached to some really smart lyrics. They will enjoy this music if they want to, I can’t control that.

LCC: Your new album includes a cynical song about celebrity worship – talk about Brassens being years ahead of his time, huh?; a very funny one about being pussywhipped; a defiant, punkish one about staying true to oneself; at least one and maybe more that were banned in France; and the poignant outsider anthem Bad Reputation, the first song Brassens ever wrote, from which you take the name of the band. Do you have a favorite? Or is it one that’s not here, that you haven’t covered yet?

PDG: I have translated 23 songs, 13 of which are on this album. There are 3 or 4 that were really hard to leave off the album, including Poor Martin (Pauvre Martin), The Bistro (Le Bistro), and The Old Man (L’ancetre). They will be on future albums or singles. I also have two favorites that I’m beginning to simmer in my brainpan for future translation: “La Rose, la bouteille, et la poignee de main” (The Rose, The Bottle, and The Handshake, which is about how all three of those things are abandoned and then adopted by the narrator) and one called Hecatombe which is about a group of irate women murdering some policemen at an outdoor market.

LCC: I’m curious – besides you, does anybody else in the band speak French?

PDG: Quentin Jennings, who plays keyboards, charango and xylophone in Bad Reputation, is British, but speaks French and helped with some translation problems when I got stuck. Christian Bongers, our bassist, is German but has a pretty good handle on French.

Pierre de Gaillande and Bad Reputation play the cd release show for the album on June 12 at the Bell House at 7:30 PM.

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