Brel was born on 8th April 1929 in Schaarbeek, a district of Brussels, and lived half of his life in Paris. He died of lung cancer on 9th October 1978 in Bobigny in the suburbs of Paris, and is buried in the Marquesas Islands.
Although the Brels spoke French, they were of Flemish descent, with some of the family originating from Zandvoorde, near Ieper. Brel's father was co-owner of a cardboard factory and Brel started his professional life at that firm, apparently destined to follow in his father's footsteps. However he had no interest in it, showing instead an interest in the arts, having joined the Catholic-humanist youth organisation Franche Cordée, where he did some singing and acting. At Franche Cordée he met Thérèse Michielsen ('Miche'), and they married in 1950.
In the early 1950s Brel achieved some minor success in Belgium, singing his own songs. A 78rpm record ("La foire"/"Il y a") was released as a result. From 1954 Brel seriously pursued a singing career. He quit his job and moved to Paris, writing music and singing in the city's cabarets and music-halls.. In January 1955 he supported in the Ancienne Belgique in Brussels the performances of the Belgian pop and variety pioneer Bobbejaan Schoepen. After some success his wife and daughters joined him from Belgium. By 1956 he was touring Europe and he recorded the song "Quand on n'a que l'amour", which brought him his first major recognition. He appeared in a show with Maurice Chevalier and Michel Legrand.
By the end of the 1950s Miche and Brel's three daughters moved to Brussels. He and his family led separate lives from then on. Under the influence of his friend Georges Pasquier ('Jojo') and pianists Gérard Jouannest and François Rauber, Brel's style changed. He was no longer a Catholic-humanist troubadour, but sang grimmer songs about love, death, and the struggle that is life. The music became more complex and his themes more diverse, exploring love ("Je t'aime", "Litanies pour un retour"), society ("Les singes", "Les bourgeois", "Jaurès") and spiritual concerns ("Le bon Dieu", "Dites, si c'était vrai", "Fernand"). His work is not limited to one style. He was as proficient in comic compositions ("Le lion", "Comment tuer l'amant de sa femme...") as in more emotional ones ("Voir un ami pleurer", "Fils de...", "Jojo"). He composed and recorded his songs almost exclusively in French, and is widely recognised in French-speaking countries as one of the best French-language composers of all time.
Brel himself occasionally included parts of his songs in Flemish (Dutch), one of the three official languages of Belgium, as in Marieke. He also recorded eight other Flemish versions of songs, such as Mijn vlakke land (Le plat Pays), Laat Me Niet Alleen (Ne me quitte pas), Rosa, De Burgerij (Les Bourgeois), and De Nuttelozen van de Nacht (Les paumés du petit matin). Since his own command of the language was poor, these were translated by Ernst van Altena, renowned translator of French song. Although France was Brel's "spiritual home" and he expressed contradictory statements about his native Belgium, some of his best compositions pay tribute to Belgium.
A very successful theatrical review of his songs, "Jacques Brel is Alive and Living in Paris," was launched in 1968. It featured English translations of his songs, and it was late made into a film.
To English-speaking listeners, Brel's best-known song is probably "Seasons in the Sun," a hit for Terry Jacks in 1973. Its English lyrics are a translation by Rod McKuen of Brel's "Le Moribond."
For twenty years he was a major star gaining recognition beyond French audiences. In 1973 he retreated to French Polynesia, remaining there until 1977 when he returned to Paris and recorded his well-received final album.
A heavy smoker, it was discovered in 1973 that Brel had lung cancer. He died in 1978 and was buried in Calvary Cemetery in Atuona, Hiva Oa, Marquesas Islands, French Polynesia only a few yards away from painter Paul Gauguin.
Bruxelles
Jacques Brel Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
C'était au temps du cinéma muet
C'était au temps où Bruxelles chantait
C'était au temps où Bruxelles bruxellait
Place de Broukère on voyait des vitrines
Avec des hommes des femmes en crinoline
Place de Broukère on voyait l'omnibus
Et sur l'impériale
Le cœur dans les étoiles
Il y avait mon grand-père
Il y avait ma grand-mère
Il était militaire
Elle était fonctionnaire
Il pensait pas elle pensait rien
Et on voudrait que je sois malin
C'était au temps où Bruxelles chantait
C'était au temps du cinéma muet
C'était au temps où Bruxelles rêvait
C'était au temps où Bruxelles bruxellait
Sur les pavés de la place Sainte-Catherine
Dansaient les hommes les femmes en crinoline
Sur les pavés dansaient les omnibus
Avec des femmes des messieurs en gibus
Et sur l'impériale
Le cœur dans les étoiles
Il y avait mon grand-père
Il y avait ma grand-mère
Il avait su y faire
Elle l'avait laissé faire
Ils l'avaient donc fait tous les deux
Et on voudrait que je sois sérieux
C'était au temps où Bruxelles rêvait
C'était au temps du cinéma muet
C'était au temps où Bruxelles dansait
C'était au temps où Bruxelles bruxellait
Sous les lampions de la place Sainte-Justine
Chantaient les hommes les femmes en crinoline
Sous les lampions dansaient les omnibus
Avec des femmes des messieurs en gibus
Et sur l'impériale
Le cœur dans les étoiles
Il y avait mon grand-père
Il y avait ma grand-mère
Il attendait la guerre
Elle attendait mon père
Ils étaient gais comme le canal
Et on voudrait que j'aie le moral
C'était au temps où Bruxelles rêvait
C'était au temps du cinéma muet
C'était au temps où Bruxelles chantait
C'était au temps où Bruxelles bruxellait
The song "Bruxelles" by Jacques Brel is a nostalgic tribute to the city of Brussels in the early 20th century. The lyrics describe a time when Brussels was full of life and energy, with bustling streets and lively entertainment. The first verse reflects on the time when Brussels was dreaming, referring to the early part of the 20th century when the city was still developing and growing. The second verse describes Place de Broukère, a busy square in the heart of the city where people could see women wearing crinolines and men wearing top hats, and where the poet's grandparents would take the bus.
The third verse moves to the Place Sainte-Catherine, another busy square which Brel describes as full of people dancing in crinolines and men in top hats, and where his grandparents would also go. The final verse describes Place Sainte-Justine, another square where people would sing and dance under the lights, and where the poet's grandparents were awaiting the onset of World War II with optimism and excitement. Overall, "Bruxelles" is a vivid and affectionate portrait of a city and a time that has long since passed.
Line by Line Meaning
C'était au temps où Bruxelles rêvait
This song is about the early 20th century, a time when Brussels was full of dreams and hopes. It was a time of optimism and opportunity.
C'était au temps du cinéma muet
This line refers to the era of silent movies, when cinema was still a new and exciting art form. It was a time when people could experience stories and emotions in a completely new way.
C'était au temps où Bruxelles chantait
This line signifies a time when music was a big part of daily life in Brussels. People sang and danced together, and music was an important way to show joy and passion.
C'était au temps où Bruxelles bruxellait
This line is a play on words, as it translates to 'It was a time when Brussels was being Brussels.' It means that this was a period when the city was flourishing and developing its own unique character and culture.
Place de Broukère on voyait des vitrines
This line describes the Broukère Square, a major commercial hub in Brussels. It was a time when people would gather to admire the storefronts and do their shopping.
Avec des hommes des femmes en crinoline
This line refers to the fashion of the time, with women wearing crinoline skirts and men in formal attire. The poem is saying that this was a time of elegance and sophistication.
Place de Broukère on voyait l'omnibus
The omnibus was one of the first types of public transportation in Brussels. This line is talking about how people used to gather at the Broukère Square to watch the buses go by and enjoy the sights of the city.
Avec des femmes des messieurs en gibus
Again, this line is referring to fashion, with people wearing popular hats of the time called gibus. It's highlighting the sophistication and style of the era.
Et sur l'impériale
Le cœur dans les étoiles
This line describes the top of the omnibus, or 'impériale', where people would sit and enjoy the view. The phrase 'Le cœur dans les étoiles' means 'The heart in the stars', signifying the sense of joy and wonder people experienced while traveling the city.
Il y avait mon grand-père
Il y avait ma grand-mère
These lines denote the personal connection the singer has to the time described in the song, through the memories of their grandparents.
Il était militaire
Elle était fonctionnaire
This line refers to the occupations of the singer's grandparents. The grandfather was a military man and the grandmother was a civil servant. It's highlighting the differences between their professions but also their shared experience of the time.
Il pensait pas elle pensait rien
This line is a play on words, as it literally translates to 'He didn't think, she didn't think anything'. However, what it's trying to convey is that the grandparents were living in a time when people had a different kind of mindset and worldview than today. Their concerns and perspectives were different but still valid in that time.
Et on voudrait que je sois malin
This is a sarcastic line that highlights the singer's frustration with people expecting them to be 'smart' or knowledgeable about this era that they never knew personally. It's a satirical commentary on the pressure to be well-informed about history.
Sur les pavés de la place Sainte-Catherine
This line is talking about another popular square in Brussels, Sainte-Catherine. It's highlighting the city's lively culture and bustling atmosphere of the time.
Dansaient les hommes les femmes en crinoline
This line is a repetition of a previous line, referring again to the people's fashion and the social customs of the time. Dancing was a popular form of entertainment, as well as a way to socialize and meet new people.
Sur les pavés dansaient les omnibus
This line is highlighting the busy and active nature of the city. The constant movement and excitement are being portrayed here as something magical and special.
Avec des femmes des messieurs en gibus
Again, this line refers to the fashion of the time, highlighting the sophistication, rich layers, and small details that distinguished people's dress sense during the era.
Il avait su y faire
Elle l'avait laissé faire
These lines are referencing the grandparents' relationship. The grandfather knew how to treat the grandmother, which made her happy; that's why she let him be the one in charge of many things in their life. It's demonstrating the different power dynamics of relationships in the past versus today.
Ils l'avaient donc fait tous les deux
Et on voudrait que je sois sérieux
This line is meant to be a joke, pointing out how the previous generation (the grandparents) had managed to create the singer's father. It's also a play on the song's theme of expectations, making fun of the stereotype that people from the past were always serious and driven.
Sous les lampions de la place Sainte-Justine
This line refers to the Sainte-Justine plaza where people gathered for festive events, enjoying the romantic atmosphere. It's highlighting the vibrant nightlife and lively cultural scene of the city at the time.
Chantaient les hommes les femmes en crinoline
This line is referring to people dancing at events, which often included live music. Music, singing and dancing were a significant part of people's lives and something that brought them together.
Sous les lampions dansaient les omnibus
This line is irrupting on picnicking and outdoor activities taking place under the street lamps. It underlines how social life happened outside too and how the city was lively at night.
Avec des femmes des messieurs en gibus
This line is a repetition of a previous line, affirming the fashion sense of the era.
Il attendait la guerre
Elle attendait mon père
These lines are describing the familial relationships impacted by historical events. The grandfather was waiting for the war and the grandmother was waiting for her child (the singer)'s birth. This line reflects on the uncertainty of those times as people waited for what was to come.
Ils étaient gais comme le canal
Et on voudrait que j'aie le moral
This line is a contrast between the tone of the grandparents' time, which was at times joyful, and the tone of the present, which is much different. The final line grapples with the difference between those times and ours, with the singer bemoaning the impossible expectations placed on them by those earlier eras.
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Gerard Emile Jouannest, Jacques Romain G. Brel
Lyrics Licensed & Provided by LyricFind
@carlierbruno1846
C'était au temps où Bruxelles rêvait
C'était au temps du cinéma muet
C'était au temps où Bruxelles chantait
C'était au temps où Bruxelles bruxellait
Place de Brouckère on voyait des vitrines
Avec des hommes, des femmes en crinoline
Place de Brouckère on voyait l'omnibus
Avec des femmes, des messieurs en gibus
Et sur l'impériale
Le cœur dans les étoiles
Il y avait mon grand-père
Il y avait ma grand-mère
Il était militaire
Elle était fonctionnaire
Il pensait pas, elle pensait rien
Et on voudrait que je sois malin
C'était au temps où Bruxelles chantait
C'était au temps du cinéma muet
C'était au temps où Bruxelles rêvait
C'était au temps où Bruxelles bruxellait
Sur les pavés de la place Sainte-Catherine
Dansaient les hommes, les femmes en crinoline
Sur les pavés dansaient les omnibus
Avec des femmes, des messieurs en gibus
Et sur l'impériale
Le cœur dans les étoiles
Il y avait mon grand-père
Il y avait ma grand-mère
Il avait su y faire
Elle l'avait laissé faire
Ils l'avaient donc fait tous les deux
Et on voudrait que je sois sérieux
C'était au temps où Bruxelles rêvait
C'était au temps du cinéma muet
C'était au temps où Bruxelles dansait
C'était au temps où Bruxelles bruxellait
Sous les lampions de la place Sainte-Justine
Chantaient les hommes, les femmes en crinoline
Sous les lampions dansaient les omnibus
Avec des femmes, des messieurs en gibus
Et sur l'impériale
Le cœur dans les étoiles
Il y avait mon grand-père
Il y avait ma grand-mère
Il attendait la guerre
Elle attendait mon père
Ils étaient gais comme le canal
Et on voudrait que j'aie le moral !
C'était au temps où Bruxelles rêvait
C'était au temps du cinéma muet
C'était au temps où Bruxelles chantait
C'était au temps où Bruxelles bruxellait...
Paroles de Jacques Brel, musique de Gérard Jouannest