Though his stint was relatively brief, it did take in the even briefer attempt to launch a sideline solo career for their singer, Keith Relf. E35D78A2-CB61-4AF9-AFA2-B756A04E36EA Apr 2, 2019 - This Pin was discovered by Suzy Fairchild. It’s hard to compare such different arrangements, which makes it something of a tie between Hardy and Lynn for quality, or a case where you should choose the one you play depending on your mood. Uptempo rock wasn’t among her strengths, and she doesn’t have the kind of ultra-high-pitched R&B voice that paced the Majors’ original. There’s much such stuff out there, and of course what they contributed to Hardy’s discography would be a major part of such an anthology. It’s easy, incidentally, to confuse this with another track Hardy recorded around the same time, “Tous Ce Qu’On Dit” (see next entry), which prominently uses the words “Je T’Aime” in the chorus. Again the orchestration doesn’t seem like an obligatory entry at halftime, but a tastefully integrated feature into what’s as a rock song as well as a pop one. Proby (as “Just Call and I’ll Be There”), 1965. It could be expected that Hardy would have an affinity with Hardin, another singer-songwriter who favored darkly bittersweet, introspective moods. Unusually, it uses multi-tracked vocals, which does set it a bit apart from her average ‘60s recording. 23. lyricalguitar[at]gmail.com 20h August 2011, 3:35pm +-----+ | TOUS LES GARCONS ET LES FILLES - FRANCOISE HARDY | +-----+ (Words: Francoise Hardy, Music: Francoise Hardy/Roger Samyn) You need to put a Capo on the 2nd fret to play the song in the original tone (A) [Verse] G Em Tous les garçons et les filles de mon âge Am7 D7 Se promènent dans la rue deux par deux G Em Tous les … In common with most pre-Beatles British rock stars, Brown’s appeal is elusive to the great majority of American listeners. Her singing is more, well, girlish than Cline’s. It’s difficult to gauge Albert’s talents on the basis of this one modestly appealing pop 45, though she had at least a couple other singles (both on United Artists in the late 1960s). [9] Several of her songs and albums have appeared in critics' lists. As much as she excelled at melancholy songs of heartbreak, here she sounds innocent and chipper, failing to project the genuine forlorn desolation that Nelson did—and quite well—in his hit original. As played by Les Fantômes, “Fort Chabrol” is extremely similar to the early-‘60s work by the Shadows, the most popular rock instrumental group in Britain (and, with the exception of the US, around the world). In its initial guise, “A Wonderful Dream” was a very catchy uptempo late-period doo-wop tune. Although it’s not too much different than Lynn’s cover (and a tad more rock-influenced in the arrangement), it’s considerably less memorable. I’ve already described many songs in this post (whether by Hardy or others) as sad, wistful, and melancholy. Yardbirds fans ears will instantly perk up, however, when Hardy sings the bridges, which are taken note-for-note and word-for-word from the bridges of Keith Relf’s flop 1966 single “Shapes in My Mind.”. It has a more orchestral arrangement than the original—I know, what a shock—but otherwise differs less from the Nirvana version than most of her covers. Cafard (French LP Françoise Hardy, 1972; titled Et Si Je M’En Vais Avant Toi for CD reissue), written by Françoise Hardy & Jacques Dutronc. Apr 12, 2013 - francoise hardy playing guitar with some frenchies, paris, 60's. Acoustic guitars were joined by violins halfway through the song, backing Celentano’s rather operatic delivery—a trait shared by many male Italian singers of that time, and of other eras. And Hardy might have brought an interesting, if not necessarily better, dimension to Drake’s tunes that would have been absent from Nick’s own renditions. His version of “Just Call and I’ll Be There” is inferior even to Samantha Jones’s, with a pinched vocal style that brings to mind an anemic Gene Pitney, especially when he histrionically climbs the high notes of the chorus. Vas Pas Prendre un Tambour (French EP, circa mid-to-late 1963), written by Jacques Dutronc & Maurice Vidalin. Here’s an educated guess: Hardy, and/or her producer/record label, somehow got hold of the unreleased Anka recording of “Think About It,” or maybe even a demo of the song by Anka or someone else, or maybe even just the sheet music. Continue. If the strategy was to aim somewhere between the US easy listening and country-pop markets, she succeeded, but it’s hard to imagine either easy listening or country-pop listeners taking much of a shine to these pretty dreary interpretations. Drake wasn’t really capable of doing much of anything in the two years or so before his death in November 1974, however, and this will have to remain one of many mooted albums throughout rock history whose sound we can only imagine. Whatever the motivation, “Ma Jeunesse Fout L’Camp” was one of her less memorable tracks, though it was used as the title of her 1967 LP. MOJO, Collections, French Pop Winter 2001. Those bridges were recycled for the otherwise unrelated “Empty Sunday,” Hardy faithfully using the same rhythm. What follows is—for the first time in the English language, I would guess—a song-by-song comparison of the originals vs. her covers, with a couple caveats. And of all the songs he played her she liked none, with the possible exception of an instrumental that she took almost only so that the whole session shouldn’t have been a total waste of time. The Martyns used guitar, piano, and strings on their version, and Hardy’s arrangement doesn’t stray too far from that format, although it subtracts piano and adds mild drums. One of Hardy’s most splendid and haunting mid-1960s ballads had its origins as a song, and with an artist, few people in the UK or North America would have known. Voir plus d'idées sur le thème guitare, cours de guitare, tablature. Never Learn to Cry (UK LP En Anglais, 1968), written by Simon Napier-Bell & Vicki Wickham. Here’s one respect in which “Les Feuilles Mortes” differs from “La Mer,” however—Hardy’s cover is better this time around. The arrangement isn’t drastically different from the original, but the tempo is a little faster and the general feel brighter than the rather more somber treatment by the Joys. She takes more liberties, in a good way, with the vocal, which manages to simultaneously project more regret and playfulness than Beverley. Bardot’s arrangement, as you might guess, is a little more in the yé-yé vein, with a jazzier backing featuring acoustic guitar, piano, and Herb Alpert-like trumpet. Unlike the average Hardy song of the period, it has a pronounced hit-worthy catchy vocal hook in the chorus. Liberal fuzz guitar—quite possibly, though not certainly, the work of then-session man Jimmy Page—scoots under Hardy’s multi-tracked vocal, decorated with uncommonly expressive (for her) “whoa”s. It’s possible the original version of “Just Call and I’ll Be There” was recorded and released by another UK-based artist, American expatriate P.J. La Maison Ou J’Ai Grandi (French EP, circa early 1966), Original version: Adriano Celentano (as “Il Ragazzo Della Via Gluck”), 1966. Hardy’s version has the edge for its far greater, more relaxed playfulness, though there’s not so much you can do with a song so slight. Hardy’s arrangement of “Take My Hand for a While” is also distinguished from “Until It’s Time for Me to Go”—and from anything else she cut, for that matter—by the totally unexpected fade-in of backwards noises at the start the track. While it doesn’t equal the original (or, for that matter, Ian & Sylvia’s less ornate folk-rock cover on their 1967 Loving Sound album), she handles the vocals in a nicely sweet-but-sad manner too. All Because of You (UK LP One-Nine-Seven-Zero, 1969), written by Mark Barkan & Scott English, Mark Barkan and Scott English were two minor Brill Building writers who nonetheless had a few notable successes. La Rue Des Coeurs Perdus (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: Ricky Nelson (as “Lonesome Town”), 1958. In 1963, she represented Monaco in the Eurovision Song Contest, finishing fifth with "L'amour s'en va". Ten of the twelve songs on Et Si Je M’En Vais Avant Toi were written solely by Hardy, the only exceptions being the French version of Micky Jones and Tommy Brown’s “Bown Bown Bown” and “Cafard,” written by Hardy with Jacques Dutronc. It seems likely her version was the one Hardy heard first and most often, though it’s possible she also heard the one in 1967 by Michèle Arnaud, original performer of another song Françoise covered, “Ma Jeunesse Fout L’Camp.” Arnaud also used the same French translation for the lyrics (by Eddie Marnay) that Hardy did, retitling the song (again, as Hardy did) “Où Va La Chance?”. Bloody French, they’re a pain in the arse!”, Je N’Attends Plus Personne (French EP, circa mid-to-late 1964), Original version: Little Tony (as “Non Aspetto Nessuno”), 1964. While some may sniff some unseemly self-cross-promotion involved in this, actually the Blackwell songs Hardy covered were good choices for her records, and not photocopies of the originals. Around this time she met another artist who recorded in Sound Techniques, singer-songwriter Nick Drake. As to how she ended up working with Jones and Brown, she told Kieron Tyler in the liner notes for the CD reissue of her 1965 album, “I knew Tommy Brown and Mick Jones because they were working for Johnny [Hallyday] and Sylvie [Vartan]. Listening to it again at home, she found that it started to grow on her. “La Fin de L’Été” (“The End of the Summer”) was, in contrast to much of her output, easygoing and upbeat. Hardy’s arrangement is not only tamer (especially in the vocal department, including double-tracked ones on the bridge), but afflicted by soaring strings that are wholly at odds with the song’s spirit and thrust. Though it’s more testimony to her versatility, it’s one of her weaker mid-‘60s recordings, particularly in the semi-stentorian backing choral vocals. The Vernons Girls had a handful of middling UK hits in 1962 and 1963, but didn’t have much longer to go after that, breaking up in spring 1965. For all its slightness, it’s something Vogue apparently had high hopes for, adapting it into French with songwriters Jil and Jan, who’d also written for France’s top ‘60s male rock singer, Johnny Hallyday. As with all three of the songs Jones and Brown helped write on Le Soleil, Hardy also cut an English version, “Song of Winter,” that’s well worth hearing too. On his own and with others, British songwriter Tony Macaulay’s long career took in some of the most pop-oriented rock hits of the late 1960s and early 1970s. “I’m feeling down” is the song’s first lyric, itself an indicator that it might make the grade for a Hardy record, given Françoise’s predilection for slightly downbeat, introspective songs that didn’t quite cross over the line into outright gloom. Guitar, guitar pro, bass, drum tabs and chords with online tab player. In my view—and with so many Françoise fans, there are bound to be many who disagree—this record showed her slipping distressingly further into less interesting middle-of-the-road pop. Extending our chronological boundaries a bit past our 1972 deadline just this once, it’s worth noting that Hardy’s 1973 album Message Personnel includes a track co-written by Gainsbourg, “L’Amour En Privé.” The co-writer is Jean-Claude Vannier, himself a cult figure of sorts whose recognition is growing outside France, both for his own albums and his arrangements for artists like Gainsbourg, Brigitte Fontaine, and Jane Birkin. Iggy Pop and Étienne Daho also took part. When it was recorded at Pye Studios—according to a recollection Napier-Bell wrote that was posted on the Jonty Skrufff’s Blog site [sic]—“quite a few things were wrong with it. “Never Learn to Cry” is nothing less than a triumph, however, and an infectiously catchy highlight of En Anglais. According to the Françoise Hardy All Over the World website, “San Salvador” is a traditional song. As a duo and under different names, the pair also made some uneven records on their own, including some really good mod-pop-psych ones, like “With Love from 1 to 5” (credited to the State of Micky & Tommy), “Frisco Bay” (also credited to the State of Micky & Tommy), and “There She Goes” (credited to the J. There’s some outside material on her post-1972 records that falls outside of the focus of this article, including some oddities like a 1988 cover of a 1983 track by Barclay James Harvest, and a 1997 duet with Iggy Pop on Bing Crosby’s “I’ll Be Seeing You.” Some goodies from her prime decade that do concern us, however, are songs that were written for her that might not be “covers” in that they hadn’t previously been released, but involved some composers who’ll be familiar to 1960s rock enthusiasts. In addition to recycling part of Keith Relf’s “Shapes in Mind” into “Empty Sunday,” Simon Napier-Bell and Vicki Wickham came up with another song for Hardy, “Never Learn to Cry.” Used on her 1968 album En Anglais, it’s a quite spry (certainly for Françoise) number with a midtempo bounce and (again unusually for Hardy) cool, penetrating organ. English also produced Thin Lizzy’s debut album, and, in the most intriguing footnote of all, helped Jimi Hendrix get a passport in September 1966 by claiming that he’d known Hendrix for several years. Hardy's song "Ce Petit Cœur" was featured in the Gilmore Girls episode "French Twist". As was often the case with English-language hits translated into French, liberties were taken with the translation, “A Wonderful Dream” becoming “I Think of Him” (“Je Pense à Lui”). As noted in the entry on “Lonesome Town,” early rock’n’roll was a big formative influence on Françoise. This was her final appearance on the screen apart from in Claude Lelouch’s 1976 film If I Had to Do It All Over Again (Si c’était à refaire), where she appears as a singer performing a song.[22]. (Thanks to reader Christine for sending information about Anka’s “Sunshine Baby,” the credits on the back cover when “Avant de T’en Aller” appeared on Hardy’s 1963 EP, the post on the “Mon amie la rose” site, and the songwriting credits in the sources listed earlier in this paragraph. [18], In 1981, she married her long-time partner Jacques Dutronc, who is the father of her son Thomas Dutronc, born in 1973. Hardy’s 1972 album concludes, rather anticlimactically, with Neil Young’s “Till the Morning Comes,” which had brought side one of his breakthrough 1970 hit LP After the Gold Rush to a close. And she’d record this song in English under its original title as well. Heard in the context of La Question, where it closes an album where spare, acoustic-flavored arrangements anchor some of Hardy’s most frankly sexual deliveries, it makes an appropriately grand finale, as if bringing a love story to a happy final-credits ending. That was pretty much a bust, and Relf’s second and final 45 while with the Yardbirds, “Shapes in My Mind” (actually released in two different versions, one starting with organ, another with sax and bass) was a flop. The audition was successful, and she recorded it on April 25, 1962 for her first EP. Hardy and Baker did a credible job of recreating a Spectoresque sound with “Pourtant Tu M’Aimes,” with new lyrics by Françoise. The opening in particular can’t help but recall the bombastic burst of strings and voices that kicked off Dusty Springfield’s 1966 smash “You Don’t Have to Say You Love Me,” if rock-oriented listeners (and I am one) need a point of reference. and then had a supporting role in A Bullet Through the Heart (Une balle au cœur), directed by Jean-Daniel Pollet. Hardy’s take on this tune is quite different to Dalida’s or Kirby’s. And Françoise navigates the swoops into the lower register, as well as the transition to a jazzier bridge, with charming ease. The back cover of Sandy Alpert’s “Sunshine” 45 even listed her phone number, encouraging listeners to rap with her and ask for more copies of the single. In those respects, it’s not too unlike many of Hardy’s own compositions, though she’d sing her haunting songs in a more straightforward fashion. ), Catch a Falling Star (French En Anglais EP, Pye single UK, circa early 1964), It was a testament to Hardy’s popularity that, within a couple of years of her first release, she was recording in English (and other languages besides French) as well as her native tongue. And like “Il Ragazzo Della Via Gluck,” albeit in a different fashion, it was a little unconventionally structured for a pop song, moving into a different melody and tempo for the chorus that could have almost been airlifted from another composition. In 1994, she collaborated with the British pop group Blur for their "La Comedie" version of "To the End". Rickety piano backs the sad, elegantly—and, typically for French pop, suavely melodramatic—sung melody. In 1966 Napier-Bell became the Yardbirds’ manager. It seems possible, and maybe even likely, that Hardy was also—or even only—familiar with a French-language cover by Italian woman singer Dalida in 1966. The new lyrics by Gainsbourg could in themselves account in part for the more upbeat tone of Hardy’s version. The arrangement’s pretty similar to Hardy’s, although it’s more heavily orchestrated, lacks Françoise’s nifty shifts into a quicker tempo on the bridge. Besides co-writing three tracks, they played on the record and did some of the arrangements. Hardy turned her attention to covers of Italian songs in 1966, the first of those being Adriano Celentano’s “Il Ragazzo Della Via Gluck.” If you think French pop of the time was sentimental, it had nothing on its Italian cousin, though at least this acoustic ballad had a swinging rhythm. Vocal M S. Rhythm Guitar M S. Solo Guitar M S. Drums M S. View all instruments. “The Ocean” was one of their more memorable early tracks, the haunting tune decorated by eerie keyboard/guitar sounds. Françoise Hardy signed her first contract with the record label Vogue in November 1961. Tabs Articles Forums Wiki + Publish tab Pro. The opening desolate, echoing percussion was nifty too. Scrobble songs and get recommendations on other tracks and artists. Indeed, this even-tempered, quite upbeat (for Françoise) number is one of the most average Hardy recordings or Gainsbourg giveaways, the melody very slightly recalling the Righteous Brothers’ “(You’re My) Soul and Inspiration” in the chorus. Hardy’s interpretation, then, is quite different, and respectable. (The EP, rather than the two-song 45, was the dominant format for record releases in France at the time.). Charles Blackwell was one of the few British arrangers who could fashion credible American girl group-styled records, and simulate the sound of Phil Spector’s productions. Save my name, email, and website in this browser for the next time I comment. Hardy’s treatment of the song is fairly different from Hardin’s, if not too different from how she usually handled such material. We’re back to more familiar territory here: a cover of an American song that wasn’t a big hit. “Give A Brilliant New talent A Shot!” it proclaims. By helping UG you make the world better... and earn IQ Suggest correction Where Trees uses acoustic guitar and harpsichord, Hardy does use super-light drums, making it one of her few (and most successful) outings that could just about be called folk-rock. In Qualified Criticism of Expanded Editions, Père Lachaise Cemetery: Jim Morrison and the Graves Beyond, 1970: Baseball's Bumper Crop of Fluke Seasons, Days of Future Passed: 10 Surprising Rock Albums of the Late 1960s, Pink Floyd Concert on KQED-TV in San Francisco April 1970, Sgt. She’s also able to utter the sweet nothings—well, they’re nothings to most of the English-speaking audience, with limited or no knowledge of French—at the end, though in French, not Portuguese (enabling her to add her name to the credits as co-writer). Hardy’s 1972 self-titled album (helpfully identified as If You Listen on its 2000 CD reissue) was lots different from her previous LP. “Tiny Goddess” was their first single, combining harpsichord, cello, and hushed female backup vocals in its gently flower-power-styled portrait of the song’s subject. Trammell also had a case of what we might call the “Holly hiccups,” with a vocal overtly influenced by Buddy Holly. She can’t resist bringing in the strings for the final part, though these are muted by her standards. Hardy curbs the fussiest excesses of the original, and adds some pretty enchanting cloud-drifting scat vocals through most of the arrangement. If I wanted to meet them, it was because they wrote songs for Johnny and, particularly, for Sylvie which I wanted to sing. As for why she covered the tune, she commented in the liner notes to a 2010 CD reissue, “That’s the Welsh in me. For what it’s worth Dalida’s version might be better, as her style is more of a match for the material. As even some listeners barely aware (or unaware) of Hardy now know, had things worked out differently, she could have done some covers of a British folk-rock singer-songwriter who might have been even more obscure than the Martyns at the time—but who’s now way more famous than the Martyns (and maybe even more famous than Hardy herself). Any corrections or additions are gratefully received in the comments section. Les Feuilles Mortes (German LP Portrait in Musik, 1965), Original version: Yves Montand, mid-1940s. He worked abroad in exile for parts of his career, and according to Wikipedia, “was one of the most censored Brazilian artists to date, having close to 200 songs vetoed throughout his career.”, Ocean (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue), Original version: John & Beverley Martyn, 1970. For that reason, it might be the winner among more audiences than not, if only by a slight margin. In its original version, “Till the Morning Comes” had lasted a mere 77 seconds, giving the impression of an unfinished sketch that had somehow escaped onto a record dominated by fully formed compositions. Let My Name Be Sorrow (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue), Original version: Gilles Marchal (as “Quand Je Te Regarde Vivre”), 1970, and/or Mary Hopkin. Catchy and peppy (especially when it goes into double-time for the chorus), it’s nonetheless outdone—if not by much—by Hardy’s vivacious version. Retrouvez ici toute son actualité en vidéo ! In 1995, she sang on Malcolm McLaren's single "Revenge of the Flowers". ... Soleil – Françoise Hardy. She recorded it in English under the original title of “Only You Can Do It” too. It’s not one of her greatest interpretations, either, her enunciation—and she seems to be struggling more with English-language lyrics than usual—getting submerged by the orchestra to some extent. Je Veux Qu’Il Revienne (French EP, circa late 1964), Original version: The Vernons Girls (as “Only You Can Do It”), 1964. And in late 1967, Noel Harrison had a small US hit with “Suzanne,” while in the UK, Fairport Convention did a great folk-rock version on the BBC in September 1968, though they didn’t put it on any of their studio releases. It couldn’t have been that easy to become aware of in France. Around this time he joined Spooky Tooth; a few years later, he co-founded Foreigner.
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