Georges Brassens

Georges Brassens , born the October 22nd 1921 with Sète (then This ) and died with Saint-Gély-of-Fesc the the October 29th 1981, is a Auteur-compositeur-interprète French.

Biography

Childhood

Brassens passes its childhood to Sète in the family home, surrounded by his/her mother Elvira Dagrosa, of her father Jean-Louis Brassens, his Simone half-sister, girl of Elvira and its first husband, died in the war, and of its paternal grandfather, Jules. His/her mother, of Neapolitan origin is a catholic of large a devotion. His/her father is a peaceful, generous man, free thinker, anticlerical and equipped with a great independence of mind. Georges will grow between these two very different characters, that a thing however joins together: taste of the Song. At Brassens, one sings all the day. Between his/her mother, that Brassens will qualify the “militant one of the song”, and Simone and Jules, everyone has an air with the mouth. Brassens will have the taste of the song quite naturally. He inlassablement listens to at that time his first idols: Charles Trenet, Tino Rossi or Ray Ventura and forges a culture chansonnière, as abundant as heteroclite, than its memory will preserve like an invaluable heritage. What likes the young person Brassens it is especially the music, its first passion. It is by it that it came to the song. It gets a feeling to him which it will not find nowhere elsewhere; he will declare, in a maintenance granted to his friend André Sève: a kind of interior vibration, something of intense, a pleasure which seems to raise of a certain sensuality . It wishes to be registered with the academy, but his/her mother puts a condition at it: it is necessary that its notebook is of better quality. Brassens will never learn the musical theory… Indeed, at the school, Georges is closer to the dunce than pupil models and spends his time making the clown, preferring, with the duties which annoy it, the plays and the brawls with the buddies of the district.

However, in class of third, it opens with poetry thanks to its professor of Littérature Alphonse Bonnafé. Previously he wrote already small songs and tried to make the Poète. This year, the young boy decides to subject his first small work to Bonnafé which considers the first works bad; but far from discouraging it, teaching it advises to him more rigor and a thorough study of the poets. It interests it in the technique of Towards ification and in the approach of the Rime. Its influence on Brassens is enormous: One was the rough ones, to fourteen, fifteen years, and one started to love the poets. The inversion should be measured. Thanks to this teacher, I opened with something of large. Much later, with each time I wrote a song, I put the question: would it like Bonnafé? . Brassens then forsakes a little the song and already dreams to become poet.

But, at that time, they is still the buddies who take precedence over all the remainder for Georges. He makes with them the four hundred blows and sees himself implied at the seventeen years age in an adventure which marks it for the remainder of its life. With an aim of being done a little pocket money, they make some larcenies whose main victims are their family and their close relations. Georges thus steals a ring and a bracelet to his sister. When the police force discovers the culprits, the small business makes scandal. One speaks about “underworld schoolgirl”, “rabbles”. Some of the culprits, disavowed by their, remain one month in preventive prison. But Jean-Louis, lenient, comes to seek his son without delaying and nothing describes the scene best that these some worms of the Four graduates whom the mishap inspired to him:

When it sought its robber

Without shame,
One expected a misfortune,
With a misfortune.

But it did not declare, not,

Without shame,
Which one had dirtied his name,
Sali its name.

In silence one heard it, '

Without shame,
Which said to him: “Hello, small,
Hello small. ”

One saw it, one would not believe it,

Without shame,
to tighten its joke with tobacco to Him,
Blague with tobacco.

Comment of Brassens: I believe that it gave me a lesson which helped me to conceive me myself. I then tried to conquer my own regard… I have tried , with my small means, to equalize my father. I say well tried …

Brassens is returned of its college, and a bad reputation sticks to him with the skin in the small town of Sète. It decides to leave for Paris, project which will be concretized after a short experiment of apprentice mason in the company of his father, in February 1940, whereas the war burst.

During the war

Training
Brassens is lodged, in the 14 {{E}} district, by his/her aunt Antoinette, in whom it finds a Piano on which it makes its first musical training as an autodidact. It obtains also a work at Renault. In May 1940, the Renault factory is bombarded and France is occupied. Brassens is obliged to leave Paris and finds with much happiness Sète, its family and her friends. But it feels that its future is not there and, after a summer spent in its birthplace, it turns over to the capital… and the piano of his aunt. It is not any more question of working because any work benefits the occupant. Georges, conscious of his enormous gaps in poetry, spends his days in the Bibliothèque (it is lifted to a height of five hours of the morning and lie down with the sun, rate/rhythm which it will keep the major part of his life) to study, with meticulousness and method, largest Masters: Villon, Baudelaire, Verlaine, Hugo… His approach of poetry is almost scientist. Taking a poem of Verlaine, it “peels” image by image, seizes the least variations of rate of them and analyzes of it the Rime S and the way in which they alternate. He acquires an enormous stock of literary knowledge thus and he writes his first collections of poetries: Of the blows of sword in the water whose conclusion announces already the Anarchisme songs to come:

the century when we live is one century rotted.

All is only cowardice, lowness,
the largest assassins go to the greatest masses
And are larger kings more the big favorites.
Homage of the author to those which included/understood it,
And shit with the others.

With the venvole is also published thanks to the money of its close relations and his/her friends and, in a way more surprising, that of a certain Jeanne Planche, close to Antoinette, undoubtedly the first “ fan ” of Brassens. Comment of Brassens on these collections: At the time, I made only régurgiter what I had learned with the reading poets. I had not transformed it yet into honey.

Exile

In March 1943, Brassens is requisitioned for STO (Service of obligatory work) and must be let lead to Basdorf, in Germany. It finds time to write but is let go to the facility and regards this period as a waste of time. It is however in Germany that are written Bonhomme and Pauvre Martin , as several hundreds of songs which will finish with fire or will be modified with many recoveries before reaching their final form (like the Bad Subject repented ) and the beginning of its first novel Lalie Kakamou . It meets there some of his larger friends as Pierre Onténiente than it calls “Gibraltar” because it is “solid like a rock”, and he will become his right-hand man and his private secretary.

One year exactly after its arrival with Basdorf, it obtains a ten days permission. It is clear for him as for his new friends who it will not return to Germany. In Paris, it must find a cushy job, but Brassens which carried out an extremely solitary life to it does not know almost anybody (it attended only one friend who had followed it of Sète and some girls with which it lived its first loves). Finally Jeanne Planche comes to her assistance and proposes to him to lodge it as a long time as it will be needed. Jeanne lives with her Marcel husband a slum with 9, impasse Florimont, without gas, water nor electricity. Brassens accepts and will remain at it twenty-two years: I was there well, and I kept, since, a direction of completely exceptional discomfort . According to Pierre Onténiente, “Jeanne is éprise of Georges and Marcel saw nothing there since it started to take his first biture at eight o'clock in the morning…”.

Anarchistic influences
Arrived at Jeanne Board, Brassens must remain hidden five months while waiting for the end of the war. It does not waste time and continuous to write poems, songs, to compose, with as only instrument a small piece of furniture which it calls “my drum”, on which it types the rate/rhythm. It continues also the writing of its started novel with Basdorf, because it does not consider whereas a career of famous novelist. The end of the war and suddenly found freedom modify its practices little, except that it can recover its chart of library and take again its training of poetry.

The end of the war marks also the return to Paris of the buddies of Basdorf, with which Brassens projects the creation of a newspaper with anarchistic tendency, the Cry of the gueux , which, for lack of sufficient financing, will never see day. In parallel, it assembles - with Emile Miramont (buddy of Sète called “Horn of Aurochs” which inspired the song of the same name when this one decides to give up the team for the safety of a more middle-class life) and Andre Larue (met in Basdorf) - the “prehistoric Party”, which especially aims at turning in derision the other political parties and which recommends a return to a simpler lifestyle. He will quickly be forsaken because of the departure of Miramont. After the failure of the Cry of the gueux , it binds to the anarchistic Fédération and writes some tinted virulent articles of black Humor (as its pseudonyms attest it: “Gilles Corbel” and “Pip Corpse”) for their newspaper the Libertarian (today Le Monde libertarian ). But the imagination of the future chansonnier is not taste of all and it is quickly brought to break, without resentment nor crash, with the Federation.

He will say later in interview: I am anarchistic at the point always to cross in the nails in order to not have not to discuss with the constabulary. And: I am not very related to the law. As Léautaud would say, me I could pass to me from laws , I believe that the majority of people cannot occur some.  

End of the training
Brassens goes back entirely to the writing and finishes its novel in autumn 1947, published under the title the Moon listens with the doors . Work will not have any success, but the talents of versifier and musician of his author became ripe. Songs, which will become famous, are already written like the Umbrella , Hunting for the butterflies , I have appointment with you , Brave Margot , the Gorilla and the setting in music of the poem of Aragon It does not have there happy love . This poem does not reflect of anything its love life because, after having spun many passing fancies with “nymphs of brook” and of “Venus of barrier” ( Loves of antan ) and having lived a true melodrama with Josette, who inspired to him inter alia P… of you , a pretty flower and the First Girl , Brassens meets the woman of her life: Joha Heiman, called “ Püppchen ” (“small headstock” in German). They will never marry (it writes the to him Not-request in marriage ), nor will not cohabit, but one will not know other female adventures in faithful Brassens. Like known as the so nicely song, he condemned the door of his heart “while marking above: closed until the end of the days, due to love” ( Embraces to them all ).

At that time, Brassens acquires its first Guitare, which it buys with the assistance of Jeanne, with a friend. He works the instrument with this obstinacy applied which is characteristic for him and he makes spectacular progress very quickly, improving his technique of type-setter and especially of melodist. Stressing the words on its “drum”, he invents free melody lines of very forced harmonic then he transcribes them with the piano, then establishing a grid of agreements rich and harmonious which will be transposed thereafter (with difficulty) on the guitar.

One can say that the personality of Brassens refers already its final: declads uncouth fellow, the pipe and the moustache, the free verb, coloured and critical and yet narrowly subjected to the yoke of metric and a scrupulous classicism, the taste of old turnings, the worship of the buddies and the need for loneliness, a literary culture and confusing chansonnière, an old libertarian bottom, out of any established doctrines, but supported by an acute individualism, a visceral antimilitarism, a major atheism, and a mistaken total of comfort, money and consideration. It will not change any more.

Fulgurating success

In 1951, it meets Jacques Grello, chansonnier and pillar of the cabaret the Vault of the Republic, which after having listened to Brassens tries to introduce it into the Parisian cabarets. In spite of several appearances in various small rooms, Brassens, which entonne however the songs which will make its first successes (cf the Bad reputation) is not essential. On scene it is particularly badly at ease and would prefer to have interpreters much.

Essuyant failure on failure, Brassens is not far from all to give up. But Roger Thérond and Victor Laville, two buddies sétois, continue to believe in him, and will obtain a hearing to him which will launch it in the world of the song: an appointment with Patachou in its cabaret. As for each hearing, Brassens hesitates, What good is it? That still will occur like the other times… , but his/her two buddies insist and the March 6th 1952, they go all the three to the cabaret. He sings for Patachou, which is immediately allured. The singer invites it to come as of the following day, for her first service; the successive failures of Brassens do not frighten him less world: You will remain time here that it will be necessary! People will finish well by you listening . Small protests of Georges, who had in the idea to take Patachou as interprets and not to sing itself, are very quickly choked by that which it will call later the “tiger-cat”: Of course I will take some of them to you; but you include/understand well that the Gorilla , Corne of Aurochs or the bad reputation are not for me. Nobody can sing them better than you… . The following day, Brassens died of trac. When it goes up on scene, it does not have a safety, not even a glance for the public, its first words are: It is through broad grids… ( the Gorilla ). Pierre Nicolas, it seeing whether only, seizure its Double bass, to underline the rate/rhythm and the changes of agreements. A thirty years collaboration starts… After six songs, Brassens leaves scene as it entered: without a word, nor even a glance.

But success is there. For the first time, the public listened to it and appreciated. Eighteen months later, it will be at the head of poster with Bobino. Success is fulgurating. Patachou very quickly presents it to Jacques Canetti, brilliant discoverer of talents (Charles Trenet, Edith Piaf, Jacques Brel, Felix Leclerc and well of others) and who is at the time the most influential man in the medium of the song. During the summer, Brassens makes its first round in company of the Frères Jacques and Patachou. Before the end of the year 1952, it recorded at Philips, of which Jacques Canetti is the artistic director, ten songs intended to leave gradually at the rate/rhythm two titles by 78 turns. Three years will follow during which Brassens, the casanier, furrows the France, the Suisse and the Belgium, of Cabaret S in Music-hall S, of casino S in rooms of theater: it is the dedication!

Brassens, which hesitated a long time between a career of poet and that of singer (or at least of composer-songwriter), is now launched in the song. But it is not by spite that it made this choice, contrary to Serge Gainsbourg, which would have liked to become painter and who said to regard the song as a minor art. He considers that the song is a thing quite different from poetry, a balance between the text and the music, and that it is a gift which he has, which to place a word on a note. Thus, Brassens, not believing in its talent to become poet, launches out body and heart in the song and, far from regarding it as a poetic expression with the reduction, attempts to write the best than it is possible. Extremely demanding when it is about its work, he writes his songs very slowly, handling them and altering them, changing a word, replacing an image, until he considers that he cannot go further.

This does not prevent it from publishing in 1954 the Tower of the miracles its second novel, which it had finished writing since 1950, and an ultimate collection of poems: the Bad reputation which joins together in fact some texts of songs (new for some) and a long poem: in love ones which writes on water . Georges Brassens is always regarded as one of the largest anarchist of (with Rimbaud and Ferré).

Rene Fallet and buddies

Success leads Brassens to constitute a new circle of friends. After the buddies of Sète and the faithful ones of the time of the thin cows, (old of Basdorf, anarchists of the Libertarian , friends of Jeanne and Marcel Board) arrive the buddies of trades. Perfect anonymities, but also some celebrities: Lino Ventura, Jacques Brel, Boby Lapointe, Raymond Devos, and especially Rene Fallet, which is not yet known at that time. Amateur of songs, this Fallet written with the Duck connected a dithyrambic article on the first album of Brassens: the voice of this guy is a rare thing and which bores the croakings of all these frogs of the disc and besides. A voice in the shape of black flag, of dress which dries with the sun, of punch on the kepi, a voice which goes to the strawberries, the brawl and… with hunting for the butterflies . Brassens wants to at once meet this journalist who sings so many praises to him. And it will be a reciprocal love at first sight, a friendship which will last all the life, made quiet walks, long fishing parties and well sprinkled evenings. It is Fallet which leads his/her companion to make, in 1957, its single appearance with the cinema. Brassens interprets the role of “the Artist” in the film Porte of the Lilacs of Rene Clair, drawn from the novel from Fallet, the Large Belt . One can hardly speak about a role, so much the character resembles Brassens. It will compose of it the original soundtrack with the titles the Wine , With the wood of my heart and the Almond tree . But it hardly likes this experiment and one will not re-examine it any more with the cinema. - Fallet also wrote the notes of small pockets of the complete collection of the discs of Brassens.

Crespières

Brassens feels more and more with narrow at Marcel and Jeanne, to whom it had offered their housing of the Florimond dead end in 1955, and does not want any more to disturb them (Jeanne is 67 years old), after 15 years of cohabitation. In 1958, it buys a property with Crespières in the Yvelines: the mill of the Plug.

At the end of the Years 1960, to the duet of scene, Pierre Nicolas with the double bass and Georges Brassens with the guitar, is added for the recording of the discs a young guitarist, Joel Favreau.

One of its songs, the Two Uncles , where it returns back to back the two camps of the second world war, is worth enmities to him. It will make state in a later song of it, Mourir for ideas, yes but… of slow death… . While waiting, it clearly expressed the little of although it thought of the political movements of all kinds in Plural (see the study made on the anarchism of Brassens).

Jeanne Planche dies the October 24th 1968, 77 years old.

The January 6th 1969, on the initiative of the magazine Rock'n'roll & Folk and of the radio RTL, Georges Brassens takes part in a historical maintenance… with Léo Ferré and Jacques Brel, two giants of the French song.

“Idiotic zeal” of the Death

At the beginning of 1980, sick, it is operated of a cancer: it spends the summer 1981, in Lézardrieux, in its house at the edge of the furrow of Trieux with the family of Dr Bousquet. After a passage to Paris, he asks this Maurice Bousquet to come to seek it in Paris: it " débarque" with St Gely at the beginning of September. Its health condition allows him to benefit from the park surrounding the residence of his/her friend. It is only in last 48 H that the state of Georges Brassens is degraded. On Thursday, October 29, 1981 at 11 p.m. 14, whereas it only has just been sixty years old, death, that it so often sang with mockery, carries it in the small village of Saint-Gély-of-Fesc the close to Montpellier, in his/her friend the doctor Maurice Bousquet. Georges Brassens is buried, almost as in his song Supplique to be buried with the beach of Sète (see the album éponyme), not with the marine Cimetière of Sète like Paul Valéry, the Master in poetry of the humble troubadour, but with the cemetery of Py (section 9 Allée A), just above the pond of Thau. This cemetery is also called “the bunch”, because it is the cemetery known as “of the poor” in opposition to the marine cemetery which dominates the sea.

Anecdotes

  • Of the sound archives shows that the song the Buddies initially was the subject of three very different successive melodies (which one could hear during an emission on the author realized of alive sound) before it decides for the last.
  • Brassens declared with the singer Renaud that its songs were: “ marvelously built well ”. This last will leave him a choice place in its song My bar preferred (2002) and will record in 1995 a whole album of its favorite pieces.
  • It was also close to the team of Charlie Hebdo , of which it asked and obtained to the presence for the turning of a clip for its song the King .
  • Georges Moustaki composed a song in its honor and that of its circle of close friends: Friends of Georges . On its arrival in France, when it francizes its name, it chooses the first name of Georges in homage to Brassens.
  • Jean Ferrat also composed a song in its honor: With Brassens (1964).
  • Petition in Brassens (so that it does not enter to the French Academy) by Jean-Marie Vivier, 1972.
  • Maxime the Forester pays homage to him by giving one following the Supplique… in its song the Visit (album Born some share); Joel Favreau - the type-setter - not being remains about it since it keeps almost the rhythmic original one and, subtly reversing two agreements and the passer by in major mode, “guillerise” the song while giving to the melody an air close to the original.
  • the words of the song entitled Pauvre Martin of Georges Brassens were the subject of an adaptation in language Kabyle by the writer and poête Muhya. Poor Martin becomes " then; Muh N Muh" and the words were sung by the group Djura.
  • decennial Homage or eternal? - In 1991, at the time of the 10 years of the disappearance of the poet, Télérama entrusted the design of its number except series to Bernard Mérigaud who paid homage in his leading article thus to him:
It is in gorilla that Brassens déboula in the French song. Since, we grew in the shade of its moustache. For a tasty chart of Tending. The eye rascal of Georges uncle encourages forever the first kisses engraved on the public benches. We all met of the Jeanne, Auvergnats, the buddies who on the belly type themselves extremely. Even the Pandores brave men who are not of nature if bundles still laugh with the cry of “Died in the laws, lives anarchy! ” Not only Brassens supported only the uniforms of factor, but it invited us to die for ideas… without pressing itself. To trust gallant, it especially showed us how to court the enjôleuse mate of a light hand. With this wine waiter of the song, the coarse words became great words. Moyenâgeux Foutrement, this wandering entertainer of Modern times invited us to clink glasses with the worms of fraternity. With the devil its last shroud! Here are ten years that it continues to be used to us to cut the most beautiful suits with the life!

Discography

Georges Brassens sold approximately twenty million albums of alive sound, of 1953 with 1981, which constitutes a record for somebody having started to sell music in the Années 1950 and whose style was largely (and voluntarily) except mode in 1970. With Moustache and some other friends, Brassens made nevertheless a small incursion into the jazz with Elégie for a rat of cellar , created in homage to the woman of Moustache, in the disc Giants off jazz play Brassens .

The “integral” of its works

Published albums of alive sound (i.e as from 1964 for the 30 cm original, and as from 1965 for the republications in 30 cm of the first recordings) and constituting what it is agreed to call the integral of Brassens independently of the recordings in public, of the songs that it did not record itself, of the duets, etc:

Warning : according to the French legislation as regards phonographic works, the economic rights of the recordings of the first three albums, which were made there is more than 50 years, are in the public domain (the heirs to Brassens do not touch any more rights). But the texts and the partitions, them, are not in the public domain: they remain protected until 2051 (70 years after the death of the author), according to the Code of the intellectual property. It is thus not possible to freely reproduce these recordings without the authorization of the beneficiaries of the artiste.

Other discs

News

  • beginnings of Brassens, in deprived, 1952-1955
  • New, files 1953-1980

Public recordings

  • 1964 : Bobino 64
  • 1966 : Brassens with the NPT
  • 1972: Song recital in Bobino (DVD)
  • 1973: Georges Brassens in Great-Britain

Other recordings

Talks

  • 1971 : Radioscopy of Jacques Chancel , 1995, Radio France
  • 1952-1979: I have appointment with you, Documents and talks , 2001, France Inter

Sung or played Brassens

Texts of other authors

Throughout its career, Brassens will have begun again, put in songs and interpreted or simply known as the texts of many poets.

Among them:

Today

He which had like model of success Paul Misraki, because it was sung everywhere without being known general public, did not suspect that a day it would reach the international repute. One devoted to him today more than fifty theses, one sings it everywhere: with the Japan, in Russia, America (where it has even a fan club!), into Italy, Spain, etc On the whole, it is translated in a score of languages. Many singers interpreted translations of its texts, in particular Graeme Allwright in English, creole Sam Alpha in , Paco Ibáñez in Spanish, Fabrizio De André in Italian, Nanni Svampa as Milanese, Hebrew Yossi Banai in or Jacques Yvart in Esperanto.

Several attempts were made in German One must initially quote Franz Josef Degenhardt which was described (exaggeratedly) as “German Brassens” and which recorded an album whose translations contain mainly the social message without the lyric component. More faithful to the literary ambition of Brassens are the translations of Ralf Tauchmann (see bond ext.).

There exists currently an international association of the amateurs of Georges Brassens. In Germany, an association called " Brassens in Basdorf" was created in 2004. It organizes festivals in September. Brassens composed on the whole approximately 250 songs, of which it recorded only 200. The fifty remaining ones remained unfinished. The beautiful album “homage” of Renee Claude, great lady of the Québécois song: I have appointment with you (1993).

Places of memory

Many schools, theaters, parks and gardens, public spaces, bear the name of Georges Brassens and pay homage to the man and his work.

One can quote:

    • the park wanted by the town of Paris in the 15 {{E}} district, with the site of the old slaughter-houses of Vaugirard, was baptized “Parc Georges-Brassens”, as well as the market with the book at the side of the park. The singer lived the essence of his Parisian life at some distance from there, to the 9, Impasse Florimont (14 {{E}}), then with the 42, Rue Santos-Dumont (15 {{E}}).
    • the Library Georges Brassens , Street Gassendi in the (14 {{E}}) ** A fresco in mosaic representing Georges Brassens is reproduced on one of the walls of the subway station Porte Lilacs, with Paris.
    • One of the stations of the Tram n°3 in Paris recently inaugurated bears the name of Georges Brassens.

  • With Sète (Herault)

    • the Space Georges Brassens, museum dedicated to the poet opposite the cemetery where it rests.
    • Street Georges Brassens, the street in which was born the singer.

  • And elsewhere:

    • the place of the market of Brive-the-Strapping woman became “Georges-Brassens place” in the honor of “some females gendarmicides which made most beautiful there of all the hecatombs”!
    • the Georges-Brassens college of Goat-Beautiful-Air (Rhone delta), baptized a few months only after its disappearance.
    • the general high school, Technological and Professional Georges Brassens of Bagnols-sur-Cèze (Gard)
    • the restaurant, Buddies initially, in Toulouse, street of the Guilhemery bridge; also dedicated to the memory of the singer.
    • the Arts center Georges Brassens in Avrillé (49)
    • the Georges-Brassens college of Slats (Herault).

Price

He which did not seek the official recognition and did not estimate poet, obtained two important prices:

Bibliography of Georges Brassens

  • 60 Songs of Georges Brassens illustrated by Daniel Vanderdriessche . ED. Editions De Buck. Belgium, 1986. ISBN 2-87153-001-7.
  • the bad reputation , introduction of Rene Fallet Editions Denoël 1954 (begun again in Folio in 1986). This work gathers a collection of its first songs (thus a verse not sung of the bad subject repented ) and a play in worms in love ones which write on water .
  • Georges Brassens presentation by Alphonse Bonnafé, choice of texts, discography, portraits. ED. Pierre Seghers, coll “Poets of today” n° 99, 1963
  • Georges Brassens, Songs initially , all its songs, ED. the Book of Pocket, 1993, 287 p.,
  • Brassens, Poems and Songs , ED. Threshold, 1993, 638 p., and coll “Points” (format pocket), 2003, 416 p.
  • Brassens by Brassens , published by Loïc Rochard, prolog of Rene Fallet ED. Cherche Midi, coll “unforeseen Self-portraits”, Paris 2005, 269 p., 24 cm.
  • Discussions with three giants of the song , Brel, Brassens, Shoed. Sinclair Dumontais, editor: Hurtibise HMH.
  • time does not do anything with the business , Alain Poulanges, Textuel editions, coll PASSION, 2001.
  • the manuscripts of Georges Brassens , edition established and with accompanying notes by Alain Poulangeset André TILLEU editions Textuel, 2001.
  • Lettres in Toussenot , 1946-1950
  • Georges Brassens , Recueil composed by Janine Marc-Pezet, editions Textuel, 2001
  • Parlez you Brassens? , Jean-Louis Garitte, Editions the edge of water, coll Music & Songs, 2007 .

Partitions of Georges Brassens

  • integral work Georges Brassens in 2 volumes for Piano-song-guitar, ED. Collect Note (May 2007).
  • Anthology Georges Brassens in 5 volumes for Piano-song, ED. Universal.

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