Ver 1. Quel Mal Y A-T-Il à Ça (French EP, circa late 1965), Original version: Patsy Cline (as “When I Get Through With You”), 1962. She got it finished in a couple of takes and I pushed the session along far too quickly.” Napier-Bell still gets royalties from it, he added, “but it’s nothing to be proud of. It’s no shock that she gives it a much quieter, more thoughtful vocal, though the orchestra and choral backup vocals still make their entrances as if on cue. 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. 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. Unusually, it uses multi-tracked vocals, which does set it a bit apart from her average ‘60s recording. In April 1962, shortly after finishing school, her first album, "Oh oh Chéri", appeared, with the title song written by Johnny Hallyday's writing duo.The flip side of the record, "Tous les garçons et les filles" became a huge success, which sold 2 million copies. Download the PDF, print it and use our learning tools to master it. Her song "Il Voyage" is featured in the first episode of the BBC America series Killing Eve in the scene that shows Villanelle's character walking to her apartment in Paris. Listen online to Françoise Hardy - Un Air De Guitare and see which albums it appears on. Hardy sings in French, English, Italian, German and has two interpretations in Spanish and one in Portuguese. In 1963, she was awarded the Grand Prix du Disque from the Académie Charles Cros (see Grand Prix du Disque for French Song). 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 while her 1971 LP seems to have marked a decided turn toward Brazilian pop, here most of the material had been already released by British and American singer-songwriters both famous and obscure. Like some of the other material she was doing at this point in her career, it’s given a rather fruity middle-of-the-road production somewhat at odds with most of her 1960s output. I’m also solely covering covers from her first and best decade or so of releases, spanning 1962 to 1972. La Mésange (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: Quarteto em Cy & MB-4 (as “Sabia”), 1968, and/or Cynara & Cybele, 1968. I ended up staying there for almost seven years, and I hooked up with a singer called Sylvie Vartan, who was married to Johnny Hallyday. So chalk this up as one of the few outright missteps in her early discography, perhaps in a misguided attempt to break her into the English-speaking market. (exclamation point included). In fact, his standing was so high that most singers dreamed of covering one of his songs. A handful, however, were by movers and shakers on the British and American rock scenes, as well as French stars who’ve gained some English-speaking fans in the last few decades. “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. Blackwell was also a songwriter, and it’s also no surprise that Hardy recorded—in both French and English—some songs he penned that had been cut by British artists with whom he worked. This is referred to in the liner notes of the new CD reissue of her second album as a cover of a flop Paul Anka A-side from spring 1963, and as a cover of a ’63 Anka recording titled “Think About It” on the Françoise Hardy All Over the World website. That makes it hard to determine where Hardy might have heard it first, though the Collins cover (on her 1966 album In My Life) seems like a fair bet. I find it a bit meandering and, yes, sentimental. There might not be any relationship between “Avant de T’en Aller” and Distel’s “Ne Dis Rien” besides the melody. It’s a solid move to a fuller production sound that would become more pronounced when she used British producer Charles Blackwell on many of her mid-‘60s recordings. Play song with guitar, piano, bass, ukulele. She’d recorded in London on numerous previous occasions, of course, but this time, there seems to have been a conscious attempt to penetrate the international market, as almost all of the songs were in English. Online sources (which, again, are not infallible) refer to this Distel track as a 1965 recording, however. Soul :: Neil Young Covers, 1967-1978 Françoise Hardy :: Till the Morning Comes Vestigial female backup vocals and string instruments also put this firmly in the camp of sort of songs Hardy leaned toward. "Tous les garçons et les filles" also appeared in the final episode of the 2015 British mini-series The Enfield Haunting. “Although it was the producer who had invited me, not vice-versa, in desperation I asked him to let me take a copy of one American instrumental that was less gloomy than all the rest—its title was ‘It Hurts to Say Goodbye.’ When I returned home, I felt obliged to listen to it again and, against all expectation, immediately felt the click. The orchestral production is nicely understated, too, though it shows no influence from the rock music that was part of Françoise’s style from the start. C’est La Première Fois (French EP, early-to-mid-1964), Original version: Joe Brown (as “Your Tender Look”), 1962. I feel happy when I'm on my bed, in my room with a good book. La fille avec toi chords by Françoise Hardy. I don’t know why, just in a fluster, I suppose. More Versions. More importantly, the vocal is simply a lot more interesting, not to mention alluring. Unknown Legends of Rock’n’Roll is out of print as a physical edition, but available in an ebook edition in which all of the chapters have been expanded, including the one on Francoise Hardy. Oh Oh Cheri (French EP, Vogue, July 1962), Original version: Bobby Lee Trammell (as “Uh Oh,”), 1958, Included on Hardy’s first EP, “Oh Oh Cheri” was a perky early-‘60s teen idol-type pop-rocker with a lickety-split beat. 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. I have really enjoyed finding these original versions and reading your reviews. When you’re writing, you just sing whatever comes in your head. Tabs Articles Forums Wiki + Publish tab Pro. [1][2] She began working with more accomplished songwriters such as Serge Gainsbourg[3] and Patrick Modiano. Chords: Am, F, E, Dm, G, Bm, C, A, D. Play song with guitar, piano, bass, ukulele. One of her targets was “Ci Sono Cose Piu Grandi,” by Italian singer Tony Renis. And it’s too late, only appearing after her version.”. 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. Listening to it again at home, she found that it started to grow on her. 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. Actually, while “Lonesome Town” was a big hit for an early rock’n’roll star (Ricky Nelson), it wasn’t exactly rock’n’roll even in its first incarnation. 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. Here, after all this time, is her first cover of a French-language song (though she’d recorded numerous French-language songs by other composers that had not previously released by anyone else). Although Hardy’s all-English-language album En Anglais was disappointing (more details a few entries down), there were a few tracks that stood out from the rest, both for their higher quality and for the greater obscurity of the sources. 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. It’s easy to see why a haunting, sentimental folk song that avoided over-sappiness would appeal to Hardy. The identity of the songwriters in this category who worked with her most often in her salad years will come as a shock even to many knowledge ‘60s/’70s rock experts. Hang on to a Dream (UK LP En Anglais, 1968), Original version: Tim Hardin (as “How Can We Hang on to a Dream”), 1966. It’s not one of her more typical ones either, combining country-ish piano, folky acoustic guitar, and a rather more liltingly frivolous vocal delivery than her usual wont, especially when she wordlessly scats. It couldn’t have been that easy to become aware of in France. Dating from well before the rock era, “La Mer” was first issued back in 1946 by Charles Trenet, a quite popular French singer-songwriter who—certainly these days—is little known outside his native land. A track so obscure that I don’t remember seeing it on any CD reissue, “La Mer” was first released on the 1965 German LP Portrait in Musik, a mixture of German-language songs with French-language tunes such as this one (and one English-language track thrown in for good measure). “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. One thing we do know is that Anka was one of Hardy’s favorite singers as a teenager. 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. “Only You Can Do It” is their best record, and one that could just about pass as an actual US girl group 45. Till the Morning Comes (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue). Of all the original versions discussed in this piece, this was the most vexing to research. The film's two lead characters, a pair of 12-year-old runaways, dance on the beach and have a romantic interlude as the song plays on a portable turntable. 36 in the UK Singles Chart in 1964. Jacques Dutronc had a key role on one of Hardy’s earliest and greatest records as the writer of the El Toro et Les Cyclones instrumental “Fort Chabrol,” which when set to lyrics generated her 1962 classic “Le Temps de L’Amour.” The following year, Dutronc wrote the music to another Françoise track, “Va Prendre un Tambour,” with lyrics by Maurice Vidalin (who’d written for French stars Juliette Greco and Barbara). The tune’s appealingly melancholy, and Renis doesn’t overdo the opera as much as many of his peers, though there’s some of that in the orchestral climaxes. Fleur de Lune (French LP Soleil, 1970), written by Françoise Hardy, Mick Jones, & Tommy Brown. The arrangement is extremely similar to the one on Hardy’s “Comment te Dire Adieu”—so much so, however, that the possibility can’t be discounted that it’s based on Hardy’s version, not the other way around. On this English version, Françoise omits one verse and, more oddly, sings “some day” instead of the “amen” heard at the end of the choruses in the original. A French version appears on the 1972 French LP titled—compounding an already nightmarish situation for discographers trying to differentiate one album from another—Françoise Hardy, though it’s titled Et Si Je M’En Vais Avant Toi on a CD reissue. Another major figure in pre-rock French pop who will likely be unfamiliar to English-speaking readers, Georges Brassens set a poem by Louis Aragons to music for “Il N’y a Pas d’Amour Heureux” in the mid-1950s. The horns are eschewed for tasteful piano trills, staccato guitar notes, ghostly female vocals, and expertly flung flecks of reverberant chords. 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. “La Fin de L’Été” (“The End of the Summer”) was, in contrast to much of her output, easygoing and upbeat. 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”). I also recall someone saying Nirvana’s recording got considerable play on pirate radio stations in the Channel.”, Original version: Keith Relf (as “Shapes in My Mind”), 1966, This peculiar track only counts as a half-cover, perhaps. She’d cover the A-side of Jones’s second single, “Don’t Come Any Closer,” on her next French EP. But, a little to my surprise, my overall preference is for the Brassens original. But check out Distel’s record anyway as an example of the rather rougher, more ostentatious way older male French singers of the time handled similar material—a manner that’s likely less to the liking of most twenty-first-century English-speaking listeners. As a leading figure of the yé-yé movement, Hardy "found herself at the very forefront of the French music scene" and became "France's most exportable female singing star", recording in various languages, appearing in movies, touring throughout Europe, and gaining plaudits from musicians such as Bob Dylan, Miles Davis and Mick Jagger. We begin with a song from her very first release, which was one of the very first she recorded in a studio. While it’s not a traditional folk song, it sounds as though it could have been, with the mournful, ominous feel of a medieval narrative ballad. Apr 12, 2013 - francoise hardy playing guitar with some frenchies, paris, 60's. Hardy’s take on this tune is quite different to Dalida’s or Kirby’s. I do prefer hearing her solo lilting vocals, as opposed to Quarteto em CY & MB’s multi-layered harmony vocals, which (like some others on vintage bossa nova records) have a jazz-choral-pop feel that’s not to my taste. 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. All this combines to make “Comment te Dire Adieu” one of Hardy’s most interesting covers, and certainly one of the covers that differed most from its model. Ver 3 * 12. 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. Too bad it’s one of the least memorable of the songs she chose to interpret, however, when all’s said and done. Not at all a good recording.”. As noted in the entry on “Lonesome Town,” early rock’n’roll was a big formative influence on Françoise. While “There But for Fortune” didn’t totally evade the protest/social commentary field, it was also one of his first songs to add a non-social-specific sense of poetry to his lyrics, complementing the wistful melody. Comment te Dire Adieu (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: by Vera Lynn (as “It Hurts to Say Goodbye”), 1967, or Arnold Goland (as “It Hurts to Say Goodbye”) circa 1967. Unlike any of the songs discussed so far, this isn’t based on any specific previous record or version. “The Way of Love” wasn’t just tamer than the Beatles or the Stones; it wasn’t even rock, and not even a particularly strong mainstream pop ballad. Connie Francis was still a huge star in 1962, “It’s Gonna Take Me Some Time” appearing on the B-side of her last Top Ten hit, “Vacation.” It might not be saying much, but “It’s Gonna Take Me Some Time” was one of the better, and more rock-oriented, sides from her vintage years, with a minor key and somewhat tougher cast than her usual tune. Discover (and save!) In contrast, Hardy’s arrangement is tougher, with mean fuzz guitar (attributed to both Big Jim Sullivan and then-session man Jimmy Page), wailing female backup vocals, and a cool-as-a-cucumber vocal. She had a small role in the 1966 film Grand Prix, starring Montand as a champion race car driver. Call Sandy at 212-582-5646.” Printing the personal phone number of the artist and encouraging requests for giveaways is not the standard practice for commercial singles, to say the least, and quite likely not even for promo 45s. (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. 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. 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. Thanks and I’m sorry about the flood. I’ve already described many songs in this post (whether by Hardy or others) as sad, wistful, and melancholy. Save my name, email, and website in this browser for the next time I comment. Le Temp des Souvenirs (French EP, circa mid-1965), Original version: Samantha Jones (as “Just Call and I’ll Be There”), 1965; and/or P.J. When he had heard my first audition on tape—he hadn’t seen me yet—he [told me] my voice was exactly right for ‘Oh Oh Cheri.’ That was one—not the only—reason he signed me.”, Le Temps de L’Amour (French EP, December 1962), Original version: El Toro et Les Cyclones (as “Fort Chabrol”), circa early 1960s; possibly by Les Fantômes, January 1962. Use a mixing console in Pro version. It sounds a bit frivolous in the context of her overall work, in fact. Alas, he didn’t sound so much like a “Bad Boy” as the boy next door. Her parents lived apart when she was young; her father contributed little financially to the family and had little to do with his daughters. At E-Chords.com you will learn how to play Françoise Hardy's songs easily and improve your skills on your favorite instrument as well.. Daily, we added a hundreds of new songs with chords and tabs, just for you ;).. Ma Jeunesse Fout Le Camp (French EP, circa late 1967). There were unlikely connections to figures spanning Yardbirds singer Keith Relf to Ennio Morricone. Her recording of "Träume" plays during the end credits of François Ozon's Water Drops on Burning Rocks (Gouttes d'eau sur pierres brûlantes) (2000). A quality mixture of girl group, British pop, and a bit of soul, it had a dramatic soul-pop melody, booming (nearly bombastic) orchestral production, and wailing female backup vocals. There’s a more even, unexaggerated lilt to her vocals, and some bluesiness to the hastily picked opening acoustic guitar riff. It was a little reminiscent of the girl group-cum-British Invasion pop being generated by Dusty Springfield, Lulu, and Sandie Shaw at the time, though Jones would never have a UK or US hit. Gothic backup vocals at the very opening (which recur throughout the track) make it evident it’s going to be gaudier than Hardin’s original, and understated orchestration also pushes this from folk-rock to baroque folk. It’s also blander and not nearly as good as Hardy’s, despite the presence of Mick Jones on guitar and Gary Wright on keyboards.). 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. Although Hardy’s English-language recordings in general don’t stack up too well against her primary French-tongue work, her French accent gives “Ocean” an enticing sheen. A final swell of backwards effects sans voice or orchestration concludes the recording, as if to make sure the listener has noticed she’s tried something different. [18], In 1981, she married her long-time partner Jacques Dutronc, who is the father of her son Thomas Dutronc, born in 1973. The song had first been recorded as “The Way of Love” by British singer Kathy Kirby in 1965. 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. “Empty Sunday” was written by famed British music entrepreneur Simon Napier-Bell and Ready Steady Go assistant producer (and Dusty Springfield manager) Vicki Wickham. Je Fais des Puzzles (French LP Soleil, 1970), written by Mick Jones, Tommy Brown, H. De Courson, & P. Modiano. The swell of background voices at the end, as if to bring down the curtain on a number in a musical, is especially disheartening. Saved by Clink. There was, however, one track that had been previously released in another version. 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. Hardy must have liked John & Beverley Martyn’s Stormbringer! Tabs Articles Forums Wiki + Publish tab Pro. No artist with the name "Françoise Hardy" This error should never happen if you have clicked on a link in Chordie. 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. There’s also a neat passage where it slows down dramatically for the finale without sounding contrived. 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. [8] The singer is also considered a gay icon and has "repeatedly declared that her most devoted friends and fans are gay". Trammell’s track, unlike Hardy’s, is burdened by whitebread doo-wop backing vocals, complete with goofy bass “bohm-bohm-bohm-bohm”s at the end of the choruses. The Hardy recording is rather more forceful and energetic, however. And like some of the other Hardy-Blackwell collaborations, it was one of the best Phil Spector-like productions from Europe, adding some distinctive British and French sensibilities to the mix. And she’d record this song in English under its original title as well. Not all of the songs written for (or, sometimes, with) her during this period, of course, were by figures who made an impact on the international rock audience. Crawford wasn’t quite a child anymore in 1962; in fact, he was 16. Quite possibly she heard a demo. The orchestration is kept more in the background than usual, and the spooky echoing clicks in the bridge are nice touches. With one of her corniest arrangements, it sounds like a leftover from her earliest sessions, or perhaps something done as an afterthought for a foreign market, with musicians and arrangers with whom she usually didn’t collaborate. 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. “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. There’s something rather lovely about dark tones and minor keys.”. The pair collaborated on a few songs in the 1960s, most famously Dusty Springfield’s 1966 megahit “You Don’t Have to Say You Love Me.” They co-wrote the English lyrics to Springfield’s version when it was adapted from the Italian original, “Io Che Non Vivo (Senza Te)” (a big 1965 hit in Italy for one of the original co-writers, Pino Donaggio). If that’s what she wanted to explore, however, “Parlez-Moi de Lui” was certainly the right kind of source material. If you still haven't found what you're looking for, please send to us. By helping UG you make the world better... and earn IQ Suggest correction Hello, Mr. “Nous Étions Amies” was first recorded by Italian singer Dino as “Eravamo Amici.” A melodramatic ballad (like so many Italian pop records of the time), it had its virtues, namely that haunting melody. Scrobble songs and get recommendations on other tracks and artists. It might have been a little more interesting to hear her sing this with just a piano, as you do at the very beginning of the recording. Vocal M S. Rhythm Guitar M S. Solo Guitar M S. Drums M S. View all instruments. Unlike the average Hardy song of the period, it has a pronounced hit-worthy catchy vocal hook in the chorus. He might be one of the least critically respected behind-the-scenes pop-rock composers of the era, but there’s no denying his long list of successes, including the Foundations’ “Build Me Up Buttercup,” Edison Lighthouse’s “Love Grows (Where My Rosemary Goes),” Long John Baldry’s “Let the Heartaches Begin,” Scott Walker’s “Lights of Cincinnati,” and the Hollies’ “Sorry Suzanne.” In the late 1960s, he also contributed a couple songs to Hardy’s English-language recordings, with “Soon Is Slipping Away” showing up on her One-Nine-Seven-Zero album (issued in late 1969, despite the title). she covered (“The Ocean”), “Can’t Get the One I Want” was written and originally sung by Beverley Martyn. (1962) her "favorite record album", and it is the only album she packs when preparing to run away from home.[26]. Hardy signed her first contract with the record label Vogue in November 1961. He never made the slightest impact in the US, where he might be best known—if he’s known at all—for doing the original version of “A Picture of You,” a 1962 #2 hit that was covered by the Beatles at their second BBC radio session in June of that year. Bearing a Jones-Brown-Hardy credit, “Fleur de Lune” is not just the LP’s best song, but her best post-1966 recording, period. Jones’s work with Françoise remains little known to the average Foreigner fan, and while such fans might not be interested in Hardy records, it’s too bad there’s not a cleverly assembled collection of the best material Jones and/or Brown wrote for French artists. Around this time she met another artist who recorded in Sound Techniques, singer-songwriter Nick Drake.
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