Her nightclub gigs led to her first two records produced that same year, with one of them penned by Marguerite Monnot, a collaborator throughout Piaf's life. Leplée ran an intense publicity campaign leading up to her opening night, attracting the presence of many celebrities, including actor Maurice Chevalier. Leplée taught her the basics of stage presence and told her to wear a black dress, later to become her trademark apparel. He persuaded her to sing despite her extreme nervousness, which, combined with her height of only 142 centimetres (4 ft 8 in), inspired him to give her the nickname that would stay with her for the rest of her life and serve as her stage name, La Môme Piaf (Parigot translatable as "The Waif Sparrow", "The Little Sparrow", or "Kid Sparrow"). In 1935 Piaf was discovered in the Pigalle area of Paris by nightclub owner Louis Leplée, whose club Le Gerny off the Champs-Élysées was frequented by the upper and lower classes alike. hit in 1959 "Three Bells"), "L'H'ymne a L'Amour," "Je T'Ai Dans La Peau," and "Jezebel." For those who aren't overly fussy about getting either the best Piaf collection or collecting a comprehensive Piaf library, it's a fine overview of the first two decades or so of her recording career, from her debut recording of "L'Etranger" through the World War II years and her growing international profile in the early '50s.French singer and cultural icon born December 19, 1915, in Paris, and died October 11, 1963, in Plascassier.īest known for singing songs " La Vie En Rose", composed by Louiguy, with lyrics by Piaf, and English lyrics adapted by Mack David and " Non, Je Ne Regrette Rien" written by Michel Vaucaire, which rather fittingly she sung just two years before the end of her eventful life. Too, it does have some of the songs many listeners would judge among her classics, including "Mon Legionnaire," "La Vie En Rose," "Les Trois Cloches" (the basis of the Browns' number one U.S. There's nothing she recorded after 1953, and it's missing some of her most famous tracks, such as "Milord," "Mon Manege a Moi," and "Non, Je Ne Regrette Rien." Still, for what it covers, it does a good job, assembling 45 cuts from 1936-'53 by the definitive French chanteuse, with informed (if not incredibly lengthy) annotation. Certainly the double-disc compilation The Immortal Edith Piaf won't please everyone. With a career as long and a discography as extensive as Edith Piaf's, it's difficult both to condense her best work into two CDs and to select songs that find universal acclaim as her finest recorded performances.
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