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Between 19, he recorded fourteen albums that include several popular French songs such as Les copains d'abord, Chanson pour l'Auvergnat, La mauvaise réputation, and Mourir pour des idées. He wrote and sang, with his guitar, more than a hundred of his poems. Planche was the inspiration for Brassens's song Jeanne. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche lived with her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens took refuge in a small cul-de-sac called "Impasse Florimont," in the 14th arrondissement of Paris, a popular district, where he lived for several years with its owner, Jeanne Planche, a friend of his aunt. Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." They would later become close friends.Īfter being given ten days' leave in France, he decided not to return to the labor camp. He has also set to music poems by both well-known and relatively obscure poets, including Louis Aragon ( Il n'y a pas d'amour heureux), Victor Hugo ( La Légende de la Nonne, Gastibelza), Paul Verlaine, Jean Richepin, François Villon ( La Ballade des Dames du Temps Jadis), and Antoine Pol ( Les Passantes).ĭuring World War II, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany (March 1943). He is considered one of France's most accomplished postwar poets.
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Mainstream music hall and movie stars of the day such as Jean Gabin and Damia add an urbane touch, while Edith Piaf's legendary "L'Accordioniste" still sounds as fresh and poignant as the day it was released.Georges Charles Brassens ( French pronunciation: 22 October 1921 – 29 October 1981) was a French singer-songwriter and poet.Īs an iconic figure in France, he achieved fame through his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. Among the other important orchestras on hand are Tony Murena et son Ensemble, Guerino et son Orchestre, Medard Ferrero et ses Clochards, Orchestre Musette Victor, and Gus Viseur et son Orchestre. Emile Vacheur, a much-imitated icon whose precise squeezebox technique featured a trademark quick vibrato, is represented by a delightful pair of melodies. The instrumentals are intensely redolent of an earthier Paris back when it was a festival of intellectual grace, dubious plumbing, and bawdy pleasures, hovering on the perilous brink of war.
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Although the more cooperative Italian accordion eventually replaced the pipes and fiddles, guitars, and double reeds were later added to the mix, the waltzes and javas retained a defiantly rustic, naïve charm. The performers are barely two generations removed from the homesick Auvergnat (natives of the Auvergne, a mountainous region in southern France) migrant workers who once puffed their imported bagpipes at bar dances. The ambience here is quite different from that of the second set, more like a black-and-white photo by Robert Doisneau than a tourist's color-saturated Polaroid. While the subsequent release, Sound of Paris, concentrates primarily on modern bands, these 18 tracks cover some of the best-known interpreters who were active from 1930 through 1941. This was the first of Music Club's two compilations dedicated to the bal-musette, an accordion-based tradition that, to many, is the very soul of Paris.