Jacques Brel: Le Moribond
History
Jacques Brel (1929-1978) recorded the song “Le moribond” (“The Dying Man”) in 1961 on his 5th album "Marieke." In 1963, Rod McKuen “adapted” it into English with the odd name “Seasons in the Sun.” It was the first-of-many McKuen forays into the Brelian universe. In his adaptation, McKuen kept the notion of the “dying man,” but completely changed its lyrics.
The song provides a window into Brel's attitudinal framework as well as insight into the unpredictability of the "adaptation" process. The Kingston Trio made the first English language recording in 1964 using McKuen’s adaptation on their album named “Time to Think.” That same year, McKuen included it on his own album “Rod McKuen Sings Jacques Brel.”
Terry Jacks
Legend has it that Canadian Terry Jacks (b.1944) discovered the song in 1968 on an old Kingston Trio album and took it to a Beach Boys recording session for them to review. They recorded a demo but didn’t release it because of internal issues until it appeared unexpectedly 53 years later on their 2021 box set “Feel Flows.” On that album, Jacks is cited as producer.
In the meantime, Jacks took the opportunity to make it a global hit himself in 1974 with a solo recording but he soon retired from singing, thereby earning a place on lists of “one-hit wonders.” Jacks made marginal modifications to McKuen’s lyrics. His first 6 stanzas were the same. Then he added an additional chorus, replaced the wife’s 2 stanzas with 2 for “Michelle” (a young girl), and continued with a closing riff of three additional choruses. In 1974, Jacks’ song became a global hit and charted #1 in many countries, including the US Billboard Hot 100. It was a rare single that sold more than 10 million copies.
In the meantime, Jacks took the opportunity to make it a global hit himself in 1974 with a solo recording but he soon retired from singing, thereby earning a place on lists of “one-hit wonders.” Jacks made marginal modifications to McKuen’s lyrics. His first 6 stanzas were the same. Then he added an additional chorus, replaced the wife’s 2 stanzas with 2 for “Michelle” (a young girl), and continued with a closing riff of three additional choruses. In 1974, Jacks’ song became a global hit and charted #1 in many countries, including the US Billboard Hot 100. It was a rare single that sold more than 10 million copies.
The adaptation did not have strong “legs” however, partly because it was overplayed and over-“covered” but its lyrics also struck many as “cheesy” and those lyrics made the music resemble a nursery song. In a 2006 poll by CNN, 5800 respondents voted it the 5th “worst song of all time,” an outcome replicated in “Slate” (2006) and “Rolling Stone” (2011). Still, it has a certain jaunty appeal and has shown persistent longevity, which likely relates to the melody rather than the lyrics. Surprisingly, it rose from the dead in 2023 as reformulated trailer music for the Keanu Reeves film “John Wick: Chapter 4.” Since this short history provides 4 lyrical renditions to grapple with (Brel, Brel translation, McKuen, Jacks), they are posted here for leisurely side-by-side perusal.
“Le Moribond” Song
Brel's song is essentially a farewell or valediction to several lifelong acquaintances by a dying man for whom the cause of death is unclear. Anecdotal research suggests that in such situations “last words” conventionally include recurrent themes of love, gratitude, forgiveness, regrets, requests and reminders. This song is a little different, as you might expect from Brel. Dying is an intrinsically difficult topic to address in a song since, although it is a universal and unavoidable experience, it has little resonance for most people because it comes too late in life for recollections and is unlikely to be anticipated with any fondness. It is especially challenging for singers to perform while conveying a credible impression of a dying man. Even Brel doesn’t appear moribund in his several appearances. Perhaps this is why the adaptation and many covers of the song give it a bouncy, summertime interpretation as though it were about sunny days on the beach. The original song sold well in France but did not rise to “hit” status.
Conveying comforting sentiments, however, was not what Jacques Brel had in mind with “Le Moribond.” He introduced the delicious complication that the dying man is a cuckold and 2 of the 4 people present for his final benediction are his unfaithful wife and her paramour Antoine. Brel describes Antoine sarcastically as “même plus solide que l’ennui” (“even stronger than boredom) so he will surely outlive him.
Why did Brel write this song? One can suspect that satire lurks in the shadows from Brel’s overall “oeuvre” and some knowledge of his preoccupation with death and his deeply cynical disregard for religious conservatism, the cultural “mores” of the bourgeoisie and of his native country Belgium. The music resembles the cadence of a marching rhythm and the narrative steadfastly advances from one interviewee to the next. Terry Jacks, who eventually “covered” the McKuen's adaptation of Brel’s song and made it a global hit in 1974, claimed in an interview that Brel personally confided at dinner in Brussels that he wrote the song while in a brothel in Tangiers. So, perhaps it fit within a certain thematic scheme that preoccupied its author. Brel was not possessive about his musical legacy, but there may also be an ironic twist of indirect poetic allusion to some practices in the music industry.
If one adopts the sardonic point of view that invests much of Brel’s work, it is likely that he intended to skewer the “mores” of the “bourgeois” person that he might have become had he remained with his family in Brussels working at his father’s cardboard factory. Instead, in 1953 he left his parents, wife and children in Brussels; moved to Paris to sing in dives, “cabarets” and music halls; smoked and drank heavily; lived nomadically on endless music tours; shacked up with numerous women; and lived seaside for 10 years (1961-71) with his mistress in Roquebrune-Cap-Martin on the fabulous Côte d'Azur. He took up flying and sailing; became famous with a dedicated eponymous musical review in New York; died of lung cancer at age 49 and was buried next to Paul Gauguin on Atuona Hiva Oa in the Marquesas Islands, French Polynesia. It was a narrow escape. Otherwise, he might have lived and died like "le moribond."
Brel packages his 12-stanza song in four tight symetrical units, each containing two Verses and the same Chorus (VVC). Each verse contains 5 lines with an ABCDC end-of-line rhyme. Each identical Chorus contains 4 lines with an ABAB rhyme.
As with many Brel songs, the sauce is in the performance.
Verse
Adieu l'Émile, je t'aimais bien
Adieu l'Émile, je t'aimais bien tu sais
On a chanté les mêmes vins
On a chanté les mêmes filles
On a chanté les mêmes chagrins
Adieu l'Émile, je vais mourir
C'est dur de mourir au printemps tu sais
Mais j'pars aux fleurs la paix dans l'âme
Car vu qu't'es bon comme du pain blanc
Je sais qu'tu prendras soin d'ma femme
Chorus
Et j'veux qu'on rie, j'veux qu'on danse
J'veux qu'on s'amuse comme des fous
J'veux qu'on rie, j'veux qu'on danse
Quand c'est qu'on m'mettra dans l'trou
Verse
Adieu Curé, je t'aimais bien
Adieu Curé, je t'aimais bien tu sais
On n'était pas du même bord
On n'était pas du même chemin
Mais on cherchait le même port
Adieu Curé, je vais mourir
C'est dur de mourir au printemps tu sais
Mais j'pars aux fleurs la paix dans l'âme
Car vu qu't'étais son confident
Je sais qu'tu prendras soin d'ma femme
Chorus
Et j'veux qu'on rie, j'veux qu'on danse
J'veux qu'on s'amuse comme des fous
J'veux qu'on rie, j'veux qu'on danse
Quand c'est qu'on m'mettra dans l'trou
Verse
Adieu l'Antoine, j't'aimais pas bien
Adieu l'Antoine j't'aimais pas bien tu sais
J'en crève de crever aujourd'hui
Alors que toi, tu es bien vivant
Et même plus solide que l'ennui
Adieu l'Antoine, je vais mourir
C'est dur de mourir au printemps tu sais
Mais j'pars aux fleurs la paix dans l'âme
Car vu qu't'étais son amant
Je sais qu'tu prendras soin d'ma femme
Chorus
Et j'veux qu'on rie, j'veux qu'on danse
J'veux qu'on s'amuse comme des fous
J'veux qu'on rie, j'veux qu'on danse
Quand c'est qu'on m'mettra dans l'trou
Verse
Adieu ma femme je t'aimais bien
Adieu ma femme je t'aimais bien tu sais
Mais je prends l'train pour le Bon Dieu
Je prends le train qu'est avant l'tien
Mais on prend tous le train qu'on peut
Adieu ma femme je vais mourir
C'est dur de mourir au printemps tu sais
Mais j'pars aux fleurs les yeux fermés ma femme
Car vu qu'j'les ai fermés souvent
Je sais qu'tu prendras soin d'mon âme
Chorus
Et j'veux qu'on rie, j'veux qu'on danse
J'veux qu'on s'amuse comme des fous
J'veux qu'on rie, j'veux qu'on danse
Quand c'est qu'on m'mettra dans l'trou
Verse
Goodbye, Emile, I loved you well
Goodbye, Emile, I loved you well, you know
We enjoyed the same wines
We enjoyed the same girls
We enjoyed the same sorrows
Goodbye Emile, I’m going to die
It’s hard to die in springtime you know
But I am going to the flowers with peace in my soul
Because you are good like white bread
I know you will care for my wife
Chorus
And I want you to laugh, I want you to danse
I want you to have fun like fools
I want you to laugh, I want you to danse
When they throw me in the ditch
Verse
Goodbye Pastor, I loved you well
Goodbye Pastor, I loved you well, you know
We weren’t on the same shore
We weren’t on the same road
But we searched the same port
Goodbye Pastor, I’m going to die
It’s hard to die in springtime you know
But I am going to the flowers with peace in my soul
Because you were her confident
I know you will care for my wife
Chorus
And I want you to laugh, I want you to danse
I want you to have fun like fools
I want you to laugh, I want you to danse
When they throw me in the ditch
Verse
Goodbye Antoine, I didn’t love you well
Goodbye Antoine, I didn’t love you well, you know
I’m annoyed to die today
While you are well alive
Even more solid than boredom
Goodbye Antoine, I’m going to die
It’s hard to die in springtime, you know
But I am going to the flowers with peace in my soul
Because you were her lover
I know you will care for my wife
Chorus
And I want you to laugh, I want you to danse
I want you to have fun like fools
I want you to laugh, I want you to danse
When they throw me in the ditch
Verse
Goodbye my wife, I loved you well
Goodbye my wife, I loved you well you know
But I take the train to Good God
I take the train before your train
But we all take the train that we can
Goodbye my wife I’m going to die
It’s hard to die in springtime you know
But I am going to the flowers with eyes closed, my wife
Because I have closed them often
I know you will care for my soul
Chorus
And I want you to laugh, I want you to danse
I want you to have fun like fools
I want you to laugh, I want you to danse
When they throw me in the ditch
NB:
1) Mais j'pars aux fleurs: “I am going to the flowers” is an indirect way of acknowledging one’s return to dust.
2) Car vu que: “car” and “parce que” both mean “because.” “Car vu que” is a more complicated way to say the same thing and literally means “because in view of the fact that…” or, more simply, “seeing that…” or even simpler-- “since.”
1) Mais j'pars aux fleurs: “I am going to the flowers” is an indirect way of acknowledging one’s return to dust.
2) Car vu que: “car” and “parce que” both mean “because.” “Car vu que” is a more complicated way to say the same thing and literally means “because in view of the fact that…” or, more simply, “seeing that…” or even simpler-- “since.”
Adaptations
Rod McKuen made the English-language adaptation of Brel’s song “Le Moribond” in 1964 with the name “Seasons in the Sun.” That version has subsequently been “covered” many times by such artists as: Rod McKuen himself, the Kingston Trio, Terry Jacks, Nirvana, Nana Mouskouri, The Beach Boys, Andy Williams, Westlife, and others. As explained above, Jacks' 1974 release built on McKuen's adaptation and became a global sensation. The discussion below compares aspects of Brel's song with McKuen and Jacks.
Brel’s original song addresses his associates seriatim by name or relationship. These include his friend Emile ("good as white bread"), the Curé, Antoine (rival: "plus solide que l'ennui"), and his femme (wife). Brel includes neither father nor mother in his valedictory. Brel’s father was a Belgian bourgeois businessman with whom he had some differences in values and expectations. Brel’s life post-1953 was basically a flight from his Belgian home and his songs poked sarcasm at religion, the bourgeoisie, the Flemish, and more.
McKuen and Jacks both leave other parties mostly anonymous (“my friend”). McKuen's gathering includes his “trusted friend,” his “papa,” and “Françoise” (his wife who “cheated lots of times”). In real life, McKuen never knew his true father or even his own birth name. In his song, Jacks includes a friend and "papa," no “wife” but he does include a child.
McKuen and Jacks both leave other parties mostly anonymous (“my friend”). McKuen's gathering includes his “trusted friend,” his “papa,” and “Françoise” (his wife who “cheated lots of times”). In real life, McKuen never knew his true father or even his own birth name. In his song, Jacks includes a friend and "papa," no “wife” but he does include a child.
Most of Brel’s expressions to his acquaintances are template, with some customization. To his friend Emil, he remarks: “t'es bon comme du pain blanc;” to the Curé: “t'étais son confident;” to Antoine: “t'étais son amant;” to his wife, see below. Of these 4 characters, only Émile was a good friend. There were differences with the Curé, Antoine was a rival, and his wife was unfaithful.
Brel includes his (unnamed) wife (“ma femme”) in his dialogue. McKuen refers to his wife as Françoise and acknowledges that she cheated on him many times, including with a (nameless) friend, but also that she made his life less lonely and he has since forgiven her. He even jokes: “With your lovers ev’rywhere, Just be careful; I’ll be there.” McKuen does not add insult to injury by including his wife's lover in the gathering. Jacks entirely omits any reference to a wife or rival and refers only to “Michelle my little one,” who is clearly a child and likely a daughter.
Brel clearly tags Antoine as his wife’s lover: “Car vu qu't'étais son amant.” McKuen also claims his wife: “cheated lots of times…your lover was my friend,” but goes no further.
In Brel’s chorus, he encourages everybody to a post-funerial celebration:"laugh, dance and act like fools" after he’s tossed in the ditch. In their chorus, on the other hand, McKuen and Jacks celebrate the good times they had together in the past but say nothing about a funereal “after-party” or even about a burial.
Brel addresses his wife last and gives her special treatment. In addressing the other acquaintances, Brel assures them with: “But I am going to the flowers with peace in my soul” and follows with a tongue-in-cheek admonition for them to care for his wife. In the stanza where he addresses his (still nameless) wife, however, Brel chooses other words that are pregnant with meaning. To his wife, he intones: “But I am going to the flowers with eyes closed, my wife; because I have closed them often; I know you will care for my soul.” His eyes were closed often in the face of her infidelities, so he leaves her without peace in his soul and leaves his soul for her to tend (“Je sais qu'tu prendras soin d'mon âme”).
To summarize, while Brel’s song is mournful, it is flavored with a solid dose of sarcasm. He laments that it’s hard to die in springtime and he urges each interviewee to take care of his (unfaithful) wife. He nails Antoine as his wife’s lover and lets her know what he knows and that it costs him peace in his everlasting. McKuen brushes aside his wife's infidelity and Jacks omits it entirely. McKuen and Jacks kept their song rose-colored with an overall sense of lighthearted celebration. Their cheery chorus (“We had joy, we had fun, we had seasons in the sun…”) along with Brel’s infective tune became an earworm in the American cultural landscape and a celebration of summer fun. That interpretation was totally out of sync with Brel’s intent, but perhaps no more so than the ominous version in the 2023 trailer for Keanu Reeves in the film "John Wick: Chapter 4."
McKuen delivers his lyrics in 3 segments, each containing 2 Verses and a Chorus, for a total of 9 stanzas. Each Verse has 5 lines with an AABBB rhyme sequence. Each Chorus is 4 lines, with the first 2 lines identical while the last two lines vary, and the rhyme is AABB. In Jack's record, celebrated guitarist Link Wray delivered the opening electric guitar riff. Jacks' first 6 stanzas track McKuen perfectly. Then he adds a repeat of the Chorus and switches the next 3 stanzas from a "wife" to a child, and continues with 4 more Choruses for a total of 14 stanzas.
Since it became a humongous global hit in 1974, Terry Jack’s rendition of Rod McKuen’s adaptation is the one we screen here. One supposes that the Beach Boys occasionally regretted passing on the opportunity to release their demo even though it finally appeared in 2021 on their box set "Feel Flows."
Return to Brel Profile.