It must be said, however, that Hardy’s cover absolutely trounces Jones’s rendition. I feel happy when I'm on my bed, in my room with a good book. The orchestration is kept more in the background than usual, and the spooky echoing clicks in the bridge are nice touches. “Rêve” (“Dream”), which concluded the LP, had originally been issued by another Brazilian singer-songwriter, Taiguara, as “A Transa.” A nearly instrumental piece, it trod somewhere between sumptuous string-laden easy listening and cinematic movie theme, its descending motif very slightly recalling the one from Midnight Cowboy. Hardy’s take on this tune is quite different to Dalida’s or Kirby’s. **********************************************************************. That’s not so much due to Hardy’s vocal—which is, like virtually everything she did in the era, professional, if not as passionate as almost all her other tracks—as the ill-suited material, which is, as she herself says, “stupid,” and certainly unappetizingly middle-of-the-road. Her song "Tous les garçons et les filles" played during the British film Metroland (1997) and Bernardo Bertolucci's The Dreamers (2003). The colorful, controversial Napier-Bell has never made great claims for his songwriting; indeed, he sometimes seems to take pleasure in disparaging it. The song had first been recorded as “The Way of Love” by British singer Kathy Kirby in 1965. (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. “Empty Sunday” was written by famed British music entrepreneur Simon Napier-Bell and Ready Steady Go assistant producer (and Dusty Springfield manager) Vicki Wickham. Vocal M S. Rhythm Guitar M S. Solo Guitar M S. Drums M S. View all instruments. Around this time she met another artist who recorded in Sound Techniques, singer-songwriter Nick Drake. That back cover also gave “Anka-Hardy” as the songwriting credit. Although he wrote much of his own material, he also covered songs by Lee Hazlewood and Fred Neil. Je T’Aime (French EP, late 1965), written by Françoise Hardy & Mick Jones. It’s sort of neat how the bridge is quite different from the verses, going into a more uplifting, hopeful, yet yearning mood as she anxiously anticipates a reunion with the Avignon boy she left behind. Hardy was generally drifting away from rock, albeit of the poppiest orchestral-girl group sort, and into more sentimental pop in 1966. 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. Let It Be Me; Loving You; That’ll Be the Day; Who’ll Be the Next in Line; Will You Love Me Tomorrow (UK LP En Anglais, 1968), Original versions: The Everly Brothers, 1960; Elvis Presley, 1957; Buddy Holly, 1957; The Kinks, 1965; The Shirelles, 1960. I had your book but it got wrecked in a flood a few years ago (along with all of my records, including a bunch of Hardy EPs.). “Son Amour S’Est Endormi” is Hardy’s adaptation of the traditional German folk song “Alle Nächte.” It can’t said for certain which version or record she might have learned this from, or if she even learned it from a performance or recording, traditional folk songs often passing on through other means. 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. As to why she didn’t do any Jones-Brown songs after 1972, that might have been due at least in part to Jones seeking new pastures. “Until It’s Time for You to Go” is easily the most famous song by Native American singer-songwriter Buffy Sainte-Marie, who put it on her second album, Many a Mile, in 1965. The melody’s relatively complex and winding, but ultimately not too memorable to me. The poppiest of the trio of songs Jones and Brown helped write on Le Soleil, it’s still a pleasant ditty, especially when the multi-tracked vocals on the emphatic chorus give way to an ascending swirl of strings. Wherever she first heard it, it’s not surprising that Hardy was attracted to a bittersweet folky song with sorrow as its main motif. However this all went down, Françoise’s version is easily superior to Anka’s more sentimental delivery, with understandably labored pronunciation given he’s singing in a language not his own. [25] In the award-winning Greek film Attenberg (2010), her song "Tous les garçons et les filles" is played and sung by the two main characters in a lament of adolescent longing and loneliness. Pro Play This Tab. Recognition for the full scope of her achievements might have taken a few decades to take off outside of France, but Françoise Hardy to my mind is indisputably the finest pop-rock artist to emerge from that country in the 1960s. Since then it’s been covered by many artists, from Bobby Darin and Cher to Mike Nesmith and Andy Williams. So why not call her. It does seem quite possible she based it at least on part on German pop-rock singer Tommy Kent’s 1960 version of “Alle Nächte,” whose arrangement is similar in some respects, especially in the backing vocals. If that’s what she wanted to explore, however, “Parlez-Moi de Lui” was certainly the right kind of source material. Because of her difficult upbringing, Hardy became painfully shy – a trait which is still part of her character today. And he was certainly more adept at doing this than anyone in France. That Campbell LP also included, as it happens, “Until It’s Time for You to Go,” which makes one wonder whether this was where Hardy got the idea to also do both songs on her album, though that’s probably a longshot. Yet it’s one of her more forgettable early tracks, prancing along in a fairly generic girl-group/yé-yé-style way, with plenty of jaunty strings decorating the uptempo arrangement. This same year, Hardy played a minor role as the Mayor's assistant in Clive Donner’s film What's New Pussycat? 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. and then had a supporting role in A Bullet Through the Heart (Une balle au cœur), directed by Jean-Daniel Pollet. Pro Play This Tab. As many couples could testify, however, it’s often wise to keep professional and personal lives separate, as Hardy and Dutronc seem to have done in their musical projects. In France, it was somehow picked up by Hardy. Hardy’s version, frankly, can’t compete with either Trenet’s or Darin’s. 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 … As “Man of Constant Sorrow,” the song has been recorded by many artists, including (on his first LP) Bob Dylan, an artist of whom Hardy was certainly aware (and had personally met when he played Paris on his 1966 European tour). “I spent an entire afternoon with him without a single melody clicking. Not at all part of the yé-yé scene, she was already in her early forties by the time she recorded the original version of “Ma Jeunesse Fout L’Camp” in the early 1960s. It’s one of her least memorable early recordings, produced by Tony Hatch, most famous for his work with the Searchers and Petula Clark. Had Hardy done a whole album of Drake songs—including ones, as seems to have been the intention, he hadn’t recorded or would not record on his own—the result might have been one of the more interesting offbeat records of the early 1970s. It’s just not nearly as over-the-top, vocally or instrumentally, as Lynn’s (to its credit) was. 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. “[Agent] Lionel Roc suggested I ask Serge Gainsbourg to write the lyrics for it. The opening track of Hardy’s 1972 album, and one that didn’t need to translated into French, hence listing just Jones and Brown as composers. 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. It does last 14 seconds longer than Young’s, but it’s pretty inconsequential, though the short length does mean there’s not quite enough time for the orchestra to make its usual entrance. Akin to rock, girl groups, svelte male crooners, and the majority of the era’s teen-oriented sounds in general, yé-yé was widely considered to be of an ephemeral nature, and by extension was basically dominated by the collusion of producers and labels. L’Amour d’un Garçon (French EP, circa early 1963), Original version: Timi Yuro (as “The Love of a Boy”), 1962, Hardy’s first EP of 1963 also contained this cover of a Burt Bacharach-Hal David song, originally a small (#44) US hit for Timi Yuro. The third and final of Françoise’s French covers to appear in 1967 was quite different from the previous pair. The sadly strummed acoustic guitar brings to mind a fisherman pouring out his sorrows by the dockside. Suzanne (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: Leonard Cohen, 1967, and/or Judy Collins, 1966. Françoise Madeleine Hardy ( French pronunciation: [fʁɑ̃swaz madlɛn aʁdi]; born 17 January 1944) is a French singer-songwriter. This seems to have appeared on a radio-only promo 1970 single and a Spanish 45. Napier-Bell was offered the chance to produce the song by United Artists after working as the music editor for What’s New Pussycat, in which Hardy had a small part. Most of his UK hits in the late 1950s and early 1960s were inferior covers of American smashes like “Teenager in Love” and “Donna.” He did, however, write the Top Ten hit “Bad Boy,” which like some of Joe Brown’s material had a country-cum-mild rockabilly feel. I can’t think of why I wrote that sort of Gothic lyric. In 1966, she made a cameo appearance in a scene from Jean-Luc Godard's film Masculin, féminin, then participated in Grand Prix, a US blockbuster focusing on Formula 1 racing and the lives of the drivers, directed by John Frankenheimer, in which she plays Lisa, the girlfriend of Nino Barlini, a fictional Italian driver. (exclamation point included). She made her musical debut in the early 1960s on Disques Vogue and found immediate success with her song "Tous les garçons et les filles". Sometimes (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue). She has also recorded a duet with Perry Blake, who wrote two songs for Tant de belles choses. Backed primarily by acoustic guitar and piano, with a strange cha-cha beat, it avoids the orchestral excesses on her arrangement of “La Mer.” According to a youtube clip—not the most reliable of sources in all cases, it should be cautioned—“she reportedly hates this version.”. [8] The singer is also considered a gay icon and has "repeatedly declared that her most devoted friends and fans are gay". In its original version, “Say It Now” is a classy pop-soul ballad, opening with a stuttering piano figure much like the one kicking off the 1966 Rolling Stones UK B-side “Long Long While.” Skel was white, but many listeners then and now would mistake him for African-American, his singing backed by lilting soulful backup vocalists and a piano-dominated arrangement. 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. In her biography Superstar et Ermite, Hardy remembers how Nick sat in a corner, never saying a word, when he watched her session. They also did one of the earlier Beatles novelty singles with “We Love the Beatles (Beatlemania)” in January 1964, but that couldn’t help them last past Beatlemania itself. 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. Chords: Gm, D, G, A, D#, Dm. I haven’t, unfortunately, been able to track down the original 1963 version of “La Fin de L’Été,” issued in 1963 by its co-composer, Gerard Bourgeois. Nous Étions Amies (French EP, circa late 1964), Original version: Dino (as “Eravamo Amici”), 1964.
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