Understandably, not many people even know it’s a cover, since “Le Temps de L’Amour”—boasting an almost James Bond noirish feel, with snaky spy movie guitar—was based on an instrumental with an entirely different title. As Hardy and Dutronc were romantic partners for many years starting in the late 1960s, and Dutronc is himself a French star, one might expect them to have collaborated more often. 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. Not at all a good recording.”. Judged on its own terms, and not against the early American rock stars (let alone the Beatles), some of his sides have a modest brisk country-pop charm. 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. It’s those gloomy backup vocals, however, that do the most to differ this from Hardin’s prototype, accentuating the song’s desperation. 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. 71. Unlike the average Hardy song of the period, it has a pronounced hit-worthy catchy vocal hook in the chorus. Later she turned out to be as alluring as Françoise. It’s not as superior to the Tony Renis original as I might have predicted, but it’s another notch in her victory column. (1962) her "favorite record album", and it is the only album she packs when preparing to run away from home.[26]. [1][2] She began working with more accomplished songwriters such as Serge Gainsbourg[3] and Patrick Modiano. Download the PDF, print it and use our learning tools to master it. 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. This was one of the earlier of the numerous recordings Hardy made in the mid-‘60s with British arranger Charles Blackwell. For one thing I’d made the tempo a little faster but she was singing in the style of the demo I’d given her—a little slower, which gave her voice less dynamics. 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It took a while for Jones and Brown to work with Hardy again, but when they did, they were key contributors to her Soleil album. All of which is a fairly far cry from “All Because of You,” the song English and Barkan co-wrote for One-Nine-Seven-Zero. Bown Bown Bown (French LP If You Listen, 1972), written by Mick Jones & Tommy Brown, The small but significant catalog of Jones and Brown’s songwriting contributions on Hardy discs ended on a high note with “Bown Bown Bown.” Despite the Eurovision-sounding title, it’s a reflective meditation with nice harp and subdued gongs, as well as high-for-Hardy singing in the bridge. 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. It’s handicapped, however, by stiff-almost-to-the-point-of-histrionic doo-wopping backup vocals, presumably by French women with little or no experience singing or listening to rock music. Can’t Get the One I Want (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue). Tabs Articles Forums Wiki + Publish tab Pro. Before Ochs put out his own version on his 1966 In Concert album, Joan Baez had a small hit single with the song in the US, where it reached #50 in late 1965. One exception was “L’Anamour,” which appeared on Hardy’s 1968 album, and wasn’t nearly as distinctive as what either Hardy or Gainsbourg usually wrote and sang. Needs lots of love. E35D78A2-CB61-4AF9-AFA2-B756A04E36EA 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. I feel happy when I'm on my bed, in my room with a good book. American and British listeners will recognize the melody, as with English lyrics by famed songwriter Johnny Mercer, it was changed into “Autumn Leaves.” Recorded by many singers, including Jo Stafford, Frank Sinatra, and Nat King Cole, it became a standard and, in an instrumental version by pianist Roger Williams, a #1 hit in 1955. 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. Online sources (which, again, are not infallible) refer to this Distel track as a 1965 recording, however. The new lyrics by Gainsbourg could in themselves account in part for the more upbeat tone of Hardy’s version. It couldn’t have been that easy to become aware of in France. Much better than “Soon Is Slipping Away,” and tucked away on a non-LP B-side few Françoise fans have even heard, is the other Macaulay song she covered, “The Bells of Avignon.” Although (like its A-side “Soon Is Slipping Away”) it’s cheerier than her usual wont, it’s a pleasant enough lyrical jog through memories of the French town honored by the title. 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. guitar com. With her signature breathy alto, she was one of the earliest and most definitive French participants in the yé-yé movement (a style of pop music that initially emerged from Italy, Switzerland, Spain, and Portugal before spreading to France in the early 1960s). 1-mrt-2017 - You did check these out, right? Very similar to Fairport Convention in approach (even to the point of featuring a woman singer, Celia Humphris), Trees made little commercial headway before breaking up, though (as a recent cover story in Flashback testifies) they have an enthusiastic cult following today. Like many early Ray Davies songs, “Who’ll Be the Next in Line” was almost punky in its raw raunch. It was like a Thomas Hardy name, but I’d never read any Thomas Hardy! But then, what was typical of her output, or certainly of her covers? 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. It seems doubtful it made it into the stores, however, as the back cover is entirely given over to a rather tacky message poem by producer Tash Howard. Instead, her arrangement is swamped with strings, and set to a modified country-and-western beat, complete with barroom-tinged piano. It’s one of her sexiest, strongest vocals, and even the sha-la-la-la’s of the female backup singers are quite intoxicating. L’Ombre (French LP Soleil, 1970), written by Mick Jones, Tommy Brown, & Pierre Delance. Vestigial female backup vocals and string instruments also put this firmly in the camp of sort of songs Hardy leaned toward. That makes it hard to determine how Hardy might have become aware of it. Here’s one respect in which “Les Feuilles Mortes” differs from “La Mer,” however—Hardy’s cover is better this time around. Before 1965, all of the songs Françoise covered had been originally released in English or Italian. 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 Garden of Jane Delawney (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue). Unusually, though Kirby’s single missed the UK charts entirely, it did make a ripple across the Atlantic, peaking at #88 in the US (where it was her only 45 to enter the Top 100). 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. Hardy’s “Où Va La Chance?” has, unlike the plain folk of Baez and Ochs’s prototypes, an overtly baroque arrangement, dominated by harp (as in the instrument with plucked strings, not the harmonica). Jones and Brown are credited with the arrangement and musical production on this track too, at least on my CD copy. In that respect if nothing else, “Till the Morning Comes” made for an appropriately odd finale. She did little that could be classified as straight-up “folk-rock,” but “Il Est Trop Loin” comes close, with a jangly circular guitar riff and just-barely-there bass and drums. A few months after I first put up this post, reader Magnus Astrom chimed in with some useful information. 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. Around this time he joined Spooky Tooth; a few years later, he co-founded Foreigner. 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. It seems quite possible, however, that Hardy also heard, or perhaps even first heard, the English-language version Mary Hopkin issued on a June 1971 single, “Let My Name Be Sorrow.” Sneaking into the UK charts for just one week at #46, it’s a little less overwrought and a little more folky than Marchal’s original, using orchestration by Richard Hewson (most famous for executing the same task on several tracks on the Beatles’ Let It Be LP, most notoriously “The Long and Winding Road”). Bearing a Jones-Brown-Hardy credit, “Fleur de Lune” is not just the LP’s best song, but her best post-1966 recording, period. It’s one of her least memorable early recordings, produced by Tony Hatch, most famous for his work with the Searchers and Petula Clark. 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. 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. Any corrections or additions are gratefully received in the comments section. I started to play on a lot of sessions, and we would go over to England and spend a month here working with people like Jimmy Page, John Paul Jones and Glyn Johns.” It could thus well be that Jones and Brown are playing on the pair of Charles Blackwell-produced mid-‘60s Hardy tracks one or the other wrote, though it’s not certain. 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. Most, though not all, of the 1968 French album simply titled (as were, confusingly, several of her other 1960s French LPs) Françoise Hardy was devoted to songs by other composers, some of which had been previously released by other artists, some not. Hardy's style is mentioned as inspiration for many fashion figures such as André Courrèges, Paco Rabanne, Alexa Chung and Nicolas Ghesquière, former head of the couture house Balenciaga and currently creative director of Louis Vuitton.[27]. The picture sleeve for Sandy Alpert’s original version of “Sunshine,” probably a radio-only promo release. she covered (“The Ocean”), “Can’t Get the One I Want” was written and originally sung by Beverley Martyn. It must be said, however, that Hardy’s cover absolutely trounces Jones’s rendition. No artist with the name "Françoise Hardy" This error should never happen if you have clicked on a link in Chordie. Françoise then recorded a French version, writing her own French-language lyrics. It’s infinitely more sensual, actually. L’Anamour (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), written by Serge Gainsbourg. 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?”. Collection, No No: Not a Rockumentary, But a Dockumentary, British Invasion LP Covers: The UK Vs. the US, The Dave Clark Five PBS Special...And Beyond, Ain’t It Time We Said Goodbye: The Rolling Stones on the Road to Exile, The Velvet Underground & Nico: The April Fool's Version, San Francisco's Pacific Overlook and Batteries to Bluff Trail, Rock'n'Roll Trivia, Part One: Name That Guy, Arnold Earley: No Wins, One Loss, No Saves, Leaving Your Megabank: Breaking Up's Not Hard to Do, The Beatles Bootleg Recordings 1963 on iTunes. 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. Further complicating matters, as Magnus points out, “Some fan discussion claims that this single was cancelled – https://groups.yahoo.com/neo/groups/spectropop/conversations/topics/47367.” What’s more, the other co-writer of the original “It Hurts to Say Goodbye,” Jack Gold, also put out a version (in 1969). Eric Clapton even did it on his 2010 album Clapton. “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. "Le Temps de l'amour" featured in the closing sequence of the first season finale of Helix.