03/19/25

Le grand six pieds (1964)

Aux alentours du lac Saguay
Il était venu pour bûcher
Et pour les femmes
Il trimait comme un déchaîné
Pis l′samedi soir, allait giguer
Avec les femmes
Un Québécois comme y en a plus
Un grand six pieds, poilu en plus
Fier de son âme

Je suis de nationalité québécoise-française
Et ces billots, je les ai coupés
À la sueur de mes deux pieds
Dans la terre glaise
Et voulez-vous pas m'emmerder
Avec vos mesures à l′anglaise

Mais son patron, une tête anglaise
Une tête carrée entre parenthèses
Et malhonnête
Mesurait l'bois du grand six pieds
Rien qu'à l′oeil, un oeil fermé
Y était pas bête
Mais l′grand six pieds l'avait à l′oeil
Et lui préparait son cercueil
En épinette

Refrain

Puis un matin, dans les rondins
Il lui a gossé la moustache
À coups de hâche
On a fêté l′grand six pieds
Y avait d'la bière, du lard salé
Et puis des femmes
M'sieur l′curé voulut l′confesser
Mais l'grand six pieds lui a chanté
Sur sa guitare

Refrain
Author: Claude Pierre Gauthier
Lyrics source: MusixMatch
03/19/25

Heureux d’un printemps (1977)

Heureux d'un printemps qui me chauffe la couenne
Happy with a spring that warms my skin
Triste d'avoir manqué encore un hiver
Sad to have missed another winter
J'peux pas faire autrement, ça me fait de la peine
I can't do otherwise, it saddens me
On vit rien qu'au printemps; le printemps dure pas longtemps
We only live in spring; spring doesn't last long

[turlute]

Assis sur le bord de mon trou, j'me creuse la tête;
Sitting on the edge of my hole, I rack my brains;
J'pense au bonheur des gens, j'sais ben que ça va pas durer
I think about people's happiness, I know it won't last
Ça l'air que ça prend des sous pour faire la fête
It seems like it takes money to party
À qui appartient le beau temps l'hiver, l'été durant?
Who owns the good weather in winter, while it is summer?

[turlute]

L'été c'est tellement bon quand t'as la chance
Summer is so good when you have the chance
D'avoir assez d'argent pour voyager sans t'inquiéter
To have enough money to travel without worrying
Pour le fils d'un patron, c'est les vacances
For the boss's son it's vacation
Pour la fille du restaurant c'est les sueurs pis les clients
For the girl in the restaurant it's the sweats and the customers

[turlute]

On dit que l'hiver est blanc comme un nuage
They say that winter is white like a cloud
Mais ça évidemment, dans le chalet près du foyer
But that is obviously in the chalet near the fireplace
Dans l'fond c'est salissant au prix c'qui est l'chauffage
Basically it's dirty at the price at which heating is
Y a pas pire moment de l'année quand t'es prit pour d'endetter
There's no worse time of year when you're stuck in debt
[turlute]

Faut que je m'en retourne dans mon trou, creuser ma peine
I have to go back to my hole, dig out my pain
J'ai vu le surintendant, j'peux rien dire en attendant
I saw the superintendent, meanwhile I can't tell you anything
Le jour que ce sera nous qui feront la fête
The day when it will be us who will party
Imaginez le printemps quand l'hiver sera vraiment blanc
Imagine spring time when winter will be truly white

 

Singer-songwritter: Paul Piché

Lyrics source: Genius

Song type: Strophique (5×4)

Rhyming scheme: aabc, ddec, fgfc, hihi, jkjc

Metre: decameter and mixte

03/17/25

Ça va venir découragez-vous pas (1930)

Mes amis, je vous assureQue le temps est bien durIl faut pas s'découragerÇa va bien vite commencerDe l'ouvrage, y va en avoirPour tout le monde, cet hiverIl faut bien donner le tempsAu nouveau gouvernement

Ça va v'nir puis ça va v'nir mais décourageons-nous pasMoi, j'ai toujours le coeur gai pis je continue à turluter

On se plaint à MontréalAprès tout, on n'est pas malDans la province de QuébecOn mange notre pain bien secY a pas d'ouvrage au CanadaY en a ben moins dans les ÉtatsEssayez pas d'aller plus loinVous êtes certains de crever d' faim

Ça va v'nir puis ça va v'nir mais décourageons-nous pasMoi, j'ai toujours le coeur gai pis je continue à turluter

Ça coûte cher de c'temps-iciPour se nourrir à créditPour pas qu' ça monte à la grocerieJe me tape fort sur les biscuitsMais j' peux pas faire de l'extraMon p'tit mari travaille pasÀ force de me priver d'mangerJ'ai l'estomac ratatiné

Ça va v'nir puis ça va v'nir mais décourageons-nous pasMoi, j'ai toujours le coeur gai pis je continue à turluter

Me voilà mal amanchéeJ'ai des trous dans mes souliersMes talons sont tout d' traversEt pis le bout qui r'trousse en l'airLe dessus est tout fenduLa doublure toute décousueLes orteils passent à traversC'est toujours mieux que d'pas en avoir

Ça va v'nir puis ça va v'nir mais décourageons-nous pasMoi, j'ai toujours le coeur gai pis je continue à turluter

Le propriétaire qui m'a louéIl est bien mal amanchéMa boîte à charbon est brûléeEt puis j'ai cinq vitres de casséesMa lumière disconnectéePis mon eau est pas payéeL'ont pas besoin de v'nir m'achalerM'a les saprer en bas d' l'escalier

Ça va v'nir puis ça va v'nir mais décourageons-nous pasMoi, j'ai toujours le coeur gai pis je continue à turluter
Source: Musixmatch
03/16/25

Viens avec moi et tu verras

 

S’il est vrai que la vie sourit aux audacieux

Allons suis-moi et ne sois pas si orgueilleux

 

Refrain:

La vie t’attend, t’ouvre les bras

ne vois-tu pas là-bas, là-bas,

viens avec moi et tu verras

 

S’il est écrit que pour aimer et êtr’ heureux

On ne peut pas y arriver sans vivr’ à deux

 

Refrain

 

Suis mon conseil: Il ne faut plus y repenser

À ce chagrin que tu te dois vit’ d’oublier

 

Refrain

 

Parc’ qu’il ne faut jamais se contenter de peu

Car un peu ce n’est pas assez crois moi, mon vieux

 

Refrain

 

Il faut marcher vers l’avenir, vers le bonheur

Sans t’attarder à regarder souffrir ton coeur

 

Refrain

(moi et tu verras extended as final statement)

 

English translation:

Come with me and you’ll see

 

If it’s true that life smiles on the bold

Come follow me and don’t be so proud

 

Refrain:

Life is waiting for you, opening its arms,

don’t you see out there, out there,

come with me and you’ll see

 

If it’s written that to love and be happy

You can’t do it without living together

 

Refrain

 

Take my advice: Don’t give it another thought

To this sorrow you must live to forget

 

Refrain

 

Because you must never be satisfied with little

Because a little isn’t enough, believe me old man

 

Refrain

 

You have to walk towards the future, towards happiness

Without lingering to watch your heart suffer

 

Refrain

 

Text analysis:

S’il est vrai que la vie sourit aux audacieux (12)

Allons suis moi et ne sois pas si orgueilleux  (12)

 

Refrain:

La vie t’attend, t’ouvre les bras (8)

ne vois tu pas là bas, là bas, (8)

viens avec moi et tu verras (8)

 

S’il est écrit que pour aimer et êtr’ heureux

On ne peut pas y arriver sans vivr’ à deux

 

Suis mon conseil: Il ne faut plus y repenser

À ce chagrin que tu te dois vit’ d’oublier

 

Parc’ qu’il ne faut jamais se contenter de peu

Car un peu ce n’est pas assez crois moi, mon vieux

 

Il faut marcher vers l’avenir, vers le bonheur

Sans t’attarder à regarder souffrir ton coeur

Notes:

-March that became popular with Quebecois youth.

-The narrator is a leader, possibly romantic/seductive?

 

Setting:

-Male vocal quartet with layered texture

-Previous layers remain constant

-Modulation F-Fsharp-G-Ab-A Major. (stepwise chromatically)

-impressive chromaticism in the harmony

-12/8

 

Opens with a walking bass pizz opening

Verse and Refrain 1

Monorhythmic and monophonic singing

Offbeat chords in acoustic guitar

Verse and Refrain 2

Solo voice leads supported by with harmonic “euuu”s, counter-rhythm

Verse and Refrain 3

Monorhythmic in 4 part harmony

Accordian?

Verse and Refrain 4

Solo voice leads with marcato “la la la” accompaniment

Horn

Verse and Refrain 5

Monorhythmic in 4 part harmony

Electric guitar

 

Suggested Sources:

Viens avec moi et tu verras

Germaine Dugas:

Canadian Songwriters Hall of Fame. “Deux Enfants Du Même Âge,” July 26, 2018. https://www.cshf.ca/song/deux-enfants-du-meme-age/.

Les Collégiens Troubadours:

Michel Fournier, Québec Info Musique.com et Louis Bédard (Foutchy), Oricom Internet Inc. “Québec Info Musique | Les Collégiens Troubadours.” Copyright 2012, Québec Info Musique, n.d. https://archive.wikiwix.com/cache/index2.php?url=http%3A%2F%2Fwww.qim.com%2Fartistes%2Fbiographie.asp%3Fartistid%3D519#federation=archive.wikiwix.com&tab=url.

 

 

 

 

 

 

03/15/25

Voyageurs

The cliché, woven red arrowhead sash evokes a vivid character of perilous adventure – les voyageurs. They were mainly hired by The North West company in the fur trade industry during the 17th and 18th centuries.[1] Voyageurs and coureurs des bois were synonymous in the 17th century; both were licensed traders responsible for the exchange of goods between suppliers to Indigenous peoples. While voyageurs remained contracted by merchants or military officers with permits, coureurs des bois did not have permits and were considered outlaws once the trading licence system was implemented in 1681.[2]

The voyageurs were young French men hired to transport goods to trading posts which later developed into a supervising role, a “canoe master”. Voyageurs ensured the engagés (hired workers) would transport goods from merchant-suppliers and return to Montreal with furs. “Merchant voyageurs” were contracted for three years by merchants and military officers with established trading companies. The fur trade shifted in the 19th century; the number of engagés increased drastically and the bourgeois (often Scottish immigrants) replaced the role of the voyageur.[1]

Although the jovial voyageur folksongs and tales of exploration are romantic, they endured extreme hardship. A typical day involved paddling from 14 to 16 hours, sleeping under canoes, enduring mosquitoes, flies, and harsh elements such as the bitter cold, blistering sun, and pouring rain. During a portage, they carried approximately 170 lbs upon their backs. Their survival depended on cheerful camaraderie and supporting one another.[3]

Voyageurs had a variety of clothing attire over the centuries rather than the stereotypical red or blue tuque, arrowhead sash, moccasins, and hood produced by our collective imagination. Singing during their hard labour produced a large repertoire of tuneful songs, such as “Alouette,” “Rame rame,” and “C’est l’aviron.” Annually, events such as the Festival du Voyageur (Manitoba) are presented to celebrate the voyageurs and French-Canadian culture through exquisite cuisine, lively dance, and festive music.[4]

 

Suggested Sources:

  1. Foster, John E. , and Suzanne Gousse. “Voyageurs.” The Canadian Encyclopedia. Historica Canada. Article published June 07, 2007; Last Edited November 07, 2019.
  2. Wien, Tom. “Coureurs des bois.” The Canadian Encyclopedia. Historica Canada. Article published February 06, 2006; Last Edited November 07, 2019.
  1. Government of Canada. “The voyageurs.” Accessed March 6, 2025. https://parks.canada.ca/lhn-nhs/qc/lachine/culture/histoire-history/site/voyageurs
  1. Festival du Voyageur. “Infos Générales.” Accessed March 6, 2025. https://heho.ca/festival/infos-generales/

 

Related Contents:

Rame, rame

C’est l’aviron

Alouette!

The Voyageur Song

The Voyageurs (NFB film)

03/14/25

Ojibwe

The Ojibwe are indigenous peoples that are part of the larger group, Anishinaabeg [1]. The Anishinaabeg refers to indigenous peoples that are linked together culturally and linguistically, whom of which reside both in Canada and the United States [2]. The Ojibwe are also part of the Algonquin peoples, who’s ancestry can be found in Eastern Canada; primarily Ottawa and Quebec.  

The Algonquin were allies with early French settlers against the Haudenosaunee, a separate indigenous nation, and maintained alliances with the French settlers during the fur trade for military equipment, fur trading, and later, general supplies [3]. Ojibwe peoples migrated from Northeast Canada and spanned Southwest ward through to Manitoba. In the United States, Ojibwe peoples reside in the Northeast parts of Michigan, through to the Northern section of North Dakota [4]. 

This wide dispersal was due to the growing fur trading enterprise. Some Ojibwe peoples involved with the fur trade also participated in the Feast of the dead, an event held by the Huron [5], an allied Iroquoian-speaking indigenous nation [6]. The Feast of the dead refers to the event in which the movement of the bodies of departed souls (who did not die violent deaths) are relocated to a common ossuary, which was lined with beaver robes. The event helped facilitate fur and goods distribution between groups. 

Suggested Sources:

  1. Bishop, C. A. (2008, August 13). Ojibwe | the Canadian encyclopedia. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/ojibwa 
  2. Hele, K. S. (2020, July 16). Anishinaabe. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/anishinaabe 
  3. Black, M. J. (2007, September 30). Algonquin. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/algonquin 
  4. Peacock, T. D., & Wisuri, M. (2002). A Chapter Road Map. In Ojibwe Waasa Inaabidaa (pp. 18–26). essay, Afton Historical Society Press., from https://books.google.ca/books?id=tIljlOKroM0C&lpg=PA10&ots=e0lyqX0pGd&dq=ojibwe&lr&pg=PA22#v=onepage&q=ojibwe&f=false. 
  5. Marsh, J. H. (2006, February 7). Feast of the dead. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/feast-of-the-dead 
  6. Heidenreich, C. E. H. (2011, January 4). Wendat (Huron). The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/huron 

Related Contents:

 

03/14/25

The Minnesota Heritage Songbook

The Minnesota Heritage Songbook is a collection of traditional folk songs, documenting the history and culture of Minnesota. Most of the songs were brought by immigrants. Songs were passed down verbally through generations. The songbook collected songs about events relevant to Minnesota history, compiled and edited by Robert B. Waltz. The book was released in 2008 in celebration of the Minnesota Sesquicentennial. Although the exact launch date isn’t specified, the site has been updated over the years.

The website devoted to the collection provides a lot of sources and information. The Songbook allows readers to look for songs by alphabetical order, song topics, and according to the historic timeline. The songbook acts like a database, making it easy for visitors to find folk songs. The website has songs in different foreign languages, including French, Danish, German, Finnish, and Swedish. For instance, there is a French song “A la claire fontaine”. According to the website’s description, “it is a well-known song in Quebec, with a text widely printed; it is said to have been a voyageur favorite.” Lyrics, English translation, and a short instrumental melody recording are provided. There are recordings of most of the songs, which visitors can use to get a sense of how the songs might sound.  

For further exploration, the songbook provides links to other sites with useful materials about Minnesota folk songs. Further readings and listening could be done via those sources.

Source: The Minnesota Heritage Songbook

 

03/13/25

L’Alouette chanta le jour (Mon père m’y marie)

Song Title: L’Alouette chanta le jour                            Source: Frémeaux & Associés (Canada)

Strophe Rhyme Line Text Translation
A a 1 Mon père m’y marie avec un marchand de velours (bis) My father married me with a velvet merchant 
a (s) 2 Le premier jour de mes noces, ils m’ont joué un vilain tour The first day of my marriage, they played a nasty trick on me 
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 2 Le premier jour de mes noces, ils m’ont joué un vilain tour (bis) The first day of my marriage, they played a nasty trick on me 
a (s) 4 Je ne fus pas si tôt couchée, que l’alouette chanta le jour I did not go to bed so early, that the lark sang during the day;
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 5 Disait en son langage, lève toi car il est jour (bis) Said in his language, get up for it is day
a (r) 6 Faut il donc qu’une jeune mariée s’y lève avant le petit jour  Should a young bride therefore gets up there before dawn
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 7 Faut-il qu’une jeune mariée s’y lève avant le petit jour (bis) Is it only necessary to have a bride if he gets up before the dawn
a (s) 8 Y’a du monde à la boutique qui veut marchander le velours  There are people at the store who wants to bargain for velvet
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 9 Le diable emporte la boutique et les marchands de velours (bis) The devil takes away the store and the velvet merchants
c 10 Les blancs chevaux de chez mon père, ils sont bien mieux soignés que moé  My father’s white horses, they are much better cared for than me
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 11 Ils ont du foin d’l’avoine un coup d’étrille chaque jours (bis) They have oat hay one brush per day; 
a (r) 12 Et moi qui suis jeune mariée, faut m’y lever avant le jour  And I, who am a young bride, I have to get up before daybreak
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette

Song type: Chanson en laisse

Performers: Le Trio Lyrique; a vocal & piano group formed in 1932, members are baritone Lionel Daunais, contralto Anna Malenfant, tenor Ludovic Huot, pianist & arranger Allan McIver

Notes: This version performed by Le Trio Lyrique was recorded in Montreal, February 16, 1947. This song was from a compilation of folk songs that are entirely orally transmitted, but the author of these songs are unknown. The songs from Quebec have origins in Brittany and Normandy, but eventually got modified during transmission, according to regions and the time so some song titles are bound to change. Examples include “Mon Père m’y marie” and its variants: “Le Marchand de velours”, “L’Alouette chanta le jour”, and “Gai lon la, vire la roulette”. Even though the title and some text were altered, it still shares the same theme. English translation was done using an online dictionary and the help of Google Translate.

Instrumentation: woodwinds, strings & 3 voices

Rhyme scheme: It’s mostly monorhyme with each strophe consisting of the aaab rhyme pattern, except for 5th strophe/stanza which is more aacb.

Rhyme type: suffisante with the ou+r combination for strophes 1, 2, and 4; then riche with j+ou+r combinations for strophes 3 and 6.

Context: marriage

Narrative: The text is on the story of a bride from the day she gets married off by her father to living the first day as a newlywed with a velvet merchant (“marchand de velours”) and she complains she wasn’t treated well to her expectations and very dissatisfied. She even compares herself to her father’s horse in her treatment and how even a horse gets a better treatment than her.

Lyrics retrieved from:

Suggested sources:

03/13/25

Fur Trade

Fur Trade: A Key Canadian History

[3] The fur trade has played a critical role in shaping Canada’s history, beginning in the early 1600s and stretching over nearly 250 years. This busy trade involved primarily European traders, mainly the French and British, who worked closely with Indigenous peoples. The Indigenous communities were essential to making the trade successful. The soaring demand for beaver pelts drove explorers further into the heart of the Canadian wilderness, paving the way for new trading routes and settlements. What’s fascinating about the fur trade is how it promoted strong economic relationships between Indigenous and European communities, sparking cultural exchanges that influenced both sides.  In addition, music played a key role for traders to express their culture and for Indigenous peoples to come together [2].

Indigenous Women in the Fur Trade

[1] Indigenous women were essential to the success and sustainability of the fur trade. Their contributions went far beyond just managing the household; they were critical to both survival and commerce. These women took on critical tasks, such as making clothing, preserving food, and creating valuable trade goods, all of which helped their families and trading partners thrive. One important aspect of their involvement was through what’s known as mariage à la façon du pays, or “marriage according to the custom of the country.” These marriages promoted connections that allowed European traders to access Indigenous resources and social networks, which were key to successful transactions. These unions weren’t just formal agreements; they brought families together, established mutual support, and nurtured relationships across cultures. The dynamics of power in these partnerships were quite remarkable. Indigenous women wielded major influence and were adept at negotiating deals that benefited their communities. They ensured their perspectives were considered in trade discussions. Acting as cultural bridges, these women not only reinforced family bonds but also played a crucial role in shaping the fur trade and its impact on Canadian society.

Trade Goods and Cultural Exchange

The fur trade was an exchange between European traders and Indigenous peoples, deeply shaping cultural interactions. Key items like iron axes, flintlock muskets, and glass beads played major roles. Iron axes changed how Indigenous communities made tools and processed wood, while glass beads became popular decorations. These goods weren’t just materials; they represented new tech that made daily tasks easier. Reciprocity was at the core of these trade relationships, with both sides adapting to fit each other’s needs. Indigenous peoples often welcomed European goods, changing their practices and economies in the process. As competition heated up between French and English traders, their strategies evolved. The French built on existing Indigenous trade networks, while the English, represented by the Hudson’s Bay Company, aimed to establish direct access through trading posts. So, the fur trade wasn’t just about economics; it sparked a rich cultural exchange [4].

Music’s Role in the Fur Trade

[4] Music played an essential role in the fur trade, acting not just as a source of entertainment but also as a way for both traders and Indigenous peoples to express their culture. It created a unique space where diverse groups could come together, promoting social bonds that crossed cultural lines. A standout song from this time is “The Red River Valley,” [2] which beautifully captures the feelings and experiences of those involved in the fur trade. Dating back to the mid-19th century, the song touches on themes of love and longing, striking a chord with those who had to leave the lively trading center at Red River. The lyrics often reflect the connections built between Indigenous communities and European settlers, displaying how music can weave together shared stories and emotions of both joy and sorrow amidst the complexities of trading life.

References

[2] Daniel Robert Laxer. Listening to the Fur Trade. McGill-Queen’s Press – MQUP, 2022.

[3] Foster, John, and William Eccles. “Fur Trade | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 23 July 2013, www.thecanadianencyclopedia.ca/en/article/fur-trade. Accessed 4 Mar. 2025.

[4] Inouye, Frank T., and Harold A. Innis. “The Fur Trade in Canada.” Ethnohistory, vol. 4, no. 4, 1957, p. 465, https://doi.org/10.2307/480329.

[1] Kenyon, Walter. “Trade Goods: Indigenous Peoples | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 7 Feb. 2006, www.thecanadianencyclopedia.ca/en/article/indian-trade-goods. Accessed 4 Mar. 2025.

Related Sources

Glover, Fred. “Fur Trade in Canada (Plain-Language Summary) | the Canadian Encyclopedia.” The Canadian Encyclopedia, 15 Jan. 2020, www.thecanadianencyclopedia.ca/en/article/fur-trade-in-canada-plain-language-summary. Accessed 4 Mar. 2025.

Berthelette, Scott. “Women and the Fur Trade | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 30 Jan. 2023, www.thecanadianencyclopedia.ca/en/article/women-and-the-fur-trade. Accessed 4 Mar. 2025.

Suggested Sources

[2a]YouTube Recording of Red River Valley (2014): https://www.youtube.com/watch?v=hrCK_EVjcZ0

[2b]YouTube Lyric Video of Red River Valley (2019): https://www.youtube.com/watch?v=MFgKB5p8F7U

03/13/25

Parlez-nous à boire

Song title: Parlez nous à boire — The Balfa Brothers

A song in the film Southern Comfort (1981)

Strophe Rhyme Line Text
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés 
B b 3 Si que tu te maries avec une jolie fille 
b 4 T’es dans les grands dangers, ça va te la voler 
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés
B b 5 Si que tu te maries avec une vilaine fille 
b 6 T’es dans les grands dangers, faudra tu fais ta vie avec
A a 1 Oh parlez-nous à boire, non pas du marriage 
b 2 Toujours en regrettant, nos jolis temps passés 
Interlude
A a 1 Oh parlez-nous à boire, non pas du marriage 
b 2 Toujours en regrettant, nos jolis temps passés 
B c 7 Si que tu te maries avec une fille bien pauvre
d 8 T’es dans les grands dangers, faudra travailler tout la vie
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés
B e 9 Si que tu te maries avec une fille qu’a de quoi
f 10 T’es dans les grands dangers, tu vas attraper des grands reproches
C g 11 Fameux, toi grand vaurien, qu’a tout gaspillé mon bien 
g 11 Fameux, toi grand vaurien, qu’a tout gaspillé mon bien
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés

 

Style: Cajun French Music

Type: Enumerative

Narrative: A song telling people to drink and not get married. Because no matter what kind of girls you marry, you are in great danger.

Translation:

Oh parlez-nous à boire, non pas du marriage

Oh, let’s talk about drinking and not about marriage

Toujours en regrettant, nos jolis temps passés

Always regretting our pretty time past

Si que tu te maries, avec une jolie fille,

If you marry a pretty girl,

T’es dans les grands dangers, ça va te la voler.

You’re in great danger, someone’s going to steal her.

Refrain

Si que tu te maries avec une vilaine fille 

If you marry an ugly girl,

T’es dans les grands dangers, faudra tu fais ta vie avec 

You’re in great danger, you’ll have to live with her

Refrain

Si que tu te maries avec une fille bien pauvre 

If you marry a very poor girl,

T’es dans les grands dangers, faudra travailler tout la vie 

You’re in great danger, you’ll have to work all your life.

Refrain

Si que tu te maries avec une fille qu’a de quoi 

If you marry a rich girl,

T’es dans les grands dangers, tu vas attraper des grands reproches 

You’re in great danger, you’ll get great reproaches

Fameux, toi grand vaurien, qu’a tout gaspillé mon bien (bis)

Damned you, great good-for-nothing, you spilled all my possessions. (twice)

Source: