tuto guitare françoise hardy
He had not sold a lot of records yet but had written songs for, among others, France Gall [and] Juliette Greco. Much as 1966 had seen Hardy focus on Italian songs when she covered outside material (though it should be kept in mind that she was writing most of her own repertoire), 1967 saw her concentrate on French songs when she opted for cover tunes. 05.01.2018 - Françoise Hardy playing an acoustic guitar circa 1963 Apr 12, 2013 - francoise hardy playing guitar with some frenchies, paris, 60's. Unlike any of the songs discussed so far, this isn’t based on any specific previous record or version. Although as noted Wilde is all but unknown in the US, “Bad Boy” marked a rare instance of a pre-Beatles British rock single making a significant impact in the American charts. Rickety piano backs the sad, elegantly—and, typically for French pop, suavely melodramatic—sung melody. More somber and yet more melancholy than many of Hardy’s own melancholy compositions, a strong sense of loss and lament comes through on the Brassens original even if you don’t understand any French. It’s a very lushly produced track, suffused with strings and interwoven harmonizing vocals by both male and female singers. 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. Quite possibly I’ve missed a few songs she did that were previously released by other artists, especially among the handful of tracks she cut only in the German or Italian language. 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. 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. Hardy’s interpretation, then, is quite different, and respectable. Many ‘70s rock fans know he was in Spooky Tooth for a spell, but his career had started way back in the early 1960s as part of one of the more notable pre-Beatles British rock bands, Nero & the Gladiators. There’s a more even, unexaggerated lilt to her vocals, and some bluesiness to the hastily picked opening acoustic guitar riff. “Tous Ce Qu’On Dit,” written by Hardy with Tommy Brown, is a stormer of a track that’s one of her greatest rockers. Alas, this not only proves not to be the case. Even if it’s only to ask for additional copies of this record. Vocal M S. Rhythm Guitar M S. Solo Guitar M S. Drums M S. View all instruments. Hardy is definitely a better singer and recording artist than Bardot, who really did records (and quite a few of them) as a kind of adjunct to her principal career as an actress, often with an irreverent playfulness suggesting she wasn’t taking her musical endeavors too seriously. 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. You’ll love the way she sings. Those bridges were recycled for the otherwise unrelated “Empty Sunday,” Hardy faithfully using the same rhythm. 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. Incidentally, while Hardy herself gave the song new French lyrics, the title itself is an exact translation of “The Love of a Boy.”, Qui Aime-t-il Vraiment? 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. she covered (“The Ocean”), “Can’t Get the One I Want” was written and originally sung by Beverley Martyn. Nonetheless, it’s my feeling that Hardy’s covers of these are A) not very good, and B) not worthy of extended individual comment. It couldn’t have been that easy to become aware of in France. Où Va La Chance? Although they (especially John, who recorded most of his albums solo without wife Beverley) have a solid cult following now, back then the folk-rock duo weren’t all that well known, despite being produced by Joe Boyd. That problem becomes more acute on “Who’ll Be the Next in Line,” which actually was much better known in the US (where it became a Top Forty hit) than the Kinks’ UK homeland (where it was only a B-side). That makes it hard to determine how Hardy might have become aware of it. One such obscurity was the Joys’ “I Still Love Him,” which failed to chart in the US. album a lot, as she covered not just one, but two, songs from that relatively underground album on her 1972 LP. Dis-Lui Non (French EP, circa early 1965), Original version: Bobby Skel (as “Say It Now”), 1965. 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 … American blue-eyed soul singer Bobby Skel wrote this ballad (credited to his birth name Robert Skelton), and released this on the B-side of “Kiss and Run,” on the little-known Soft label. I wished they had written them for me.”. Iggy Pop and Étienne Daho also took part. 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. 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. 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. “I spent an entire afternoon with him without a single melody clicking. [8][19][20], Hardy is mentioned in a poem "Some other kinds of songs" by Bob Dylan, which appears on the back cover of his album Another Side of Bob Dylan, released in 1964. This was one of the earlier of the numerous recordings Hardy made in the mid-‘60s with British arranger Charles Blackwell. Actually, there’s no backing but piano until some mournful strings join in the gloom at around the halfway mark, joined by some doleful choral backup vocals in the final section. 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. 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. 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. Eats tuna fish sandwiches. So it might not be to the taste of some rock-oriented listeners, but actually it’s quite enjoyable. 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. Although Hardy was one of the earlier artists to cover a Leonard Cohen song, she was hardly the first, or even the first to do one of his most famous works, “Suzanne.” First on that score was Judy Collins, who put “Suzanne” (and another Cohen composition, “Dress Rehearsal Rag”) on her In My Life LP in late 1966, about a year before Cohen’s own version came out on his debut album. 24. “Only You Can Do It” is their best record, and one that could just about pass as an actual US girl group 45. Samantha’s singing, however—veering between a girlish whisper and more conventional belting—wasn’t in the league of Dusty Springfield’s, Lulu’s, or for that matter Françoise Hardy’s. 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. I’m also solely covering covers from her first and best decade or so of releases, spanning 1962 to 1972. Saved from ladiesofthe60s.tumblr.com. 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. 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. Jones and Brown are credited with the arrangement and musical production on this track too, at least on my CD copy. His version starts off with a rather eerie sequence of what sound like high organ notes, then easing into a fully arranged dramatic ballad. That noted, it’s about her best such effort, with a nicely soaring melody and a trite but affecting “life is just a ferris wheel” lyric in the chorus. C’est Le Passé (French EP, circa mid-1964), Original version: Dusty Springfield (as “Once Upon a Time”), 1963. “La Fin de L’Été” (“The End of the Summer”) was, in contrast to much of her output, easygoing and upbeat. Prior to this tour-de-force, Hardy had always stuck to American or British songs for cover choices. All that happened was I wrote and recorded a song, ‘Bad Boy,’ then Françoise covered it and recorded it with French lyrics. It’s also listed as a song he co-wrote with Don Costa (an A&R man at the ABC-Paramount label where Anka had his early hits) on Anka’s Songwriter’s Hall of Fame page. 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. The song had first been recorded as “The Way of Love” by British singer Kathy Kirby in 1965. A good number, indeed, were damned obscure, sometimes so much so that you wonder how she and/or her associates even became aware of them in the first place. [11], After a year at the Sorbonne, she answered a newspaper advertisement looking for young singers. Baez’s cover was a much bigger hit in the UK, where it reached #8. Tabs Articles Forums Wiki + Publish tab Pro. Apr 12, 2013 - francoise hardy playing guitar with some frenchies, paris, 60's. Before 1965, all of the songs Françoise covered had been originally released in English or Italian. “Se Telefonando” was co-written by Ennio Morricone, who even by 1966 was a top soundtrack composer, and might now be the most highly regarded soundtrack composer of all time. Je T’Aime (French EP, late 1965), written by Françoise Hardy & Mick Jones. Hardy does a decent job with the song, though not one that takes it into much different territory. One thing we do know is that Anka was one of Hardy’s favorite singers as a teenager. 71. But you might not guess from his recording, in which his voice is so high-voiced that many might mistake it for a girl’s or woman’s. 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. You can tell I don’t have as much to say about this song as most of the previous items in this post, and I don’t have too much to say about Hardy’s cover either. Use a mixing console in Pro version. Suzanne (French LP Françoise Hardy, 1968; titled Comment te Dire Adieu on CD reissue), Original version: Leonard Cohen, 1967, and/or Judy Collins, 1966. There were oodles—well, at least dozens—of blatantly Phil Spector-influenced productions in the early-to-mid-1960s, many of them featuring the same kind of girl groups that Spector recorded. And for much of the 1960s he was based in France, where he was a session musician, musical director, and songwriter for such top acts as Johnny Hallyday and Sylvie Vartan, often in tandem with drummer and fellow ex-Gladiator Tommy Brown. Vera Lynn was one of the most popular British singers of the pre-rock era, and made the UK and even US charts into the late 1950s. I can’t think of why I wrote that sort of Gothic lyric. [11], Her early musical influences were the French chanson stars Charles Trenet and Cora Vaucaire [fr],[12] as well as Anglophone singers Paul Anka, the Everly Brothers, Cliff Richard, Connie Francis, Elvis Presley, and Marty Wilde, whom she heard on the English-language radio station Radio Luxembourg. Pepper Deluxe Box: Off the Beaten Tracks, Shareholders Unite: The Financial Choice Act’s Threat to Shareholder Activism, On the Road to the Summer of Love Exhibit, Walter De Maria, Pre-Velvet Underground Renaissance Man, Chimney Rock in Point Reyes National Seashore, How San Francisco Recording Studios Dealt with Early Punk Rock Bands, Unreleased Fleetwood Mac 1968 BBC Performances with Peter Green, Patti Smith Exhibit at Mills College Art Museum, Peter Green: The Ideal Imaginary Compilation, Hiking on the Marin Headlands Coastal Trail, Some Favorite Non-Rock Books on Rock Music Culture of the 1960s and 1970s, Part-Time MVP Contenders, Past and Present, Dave Dexter, The Beatles, and Capitol Records, Hiking from Golden Gate Bridge to Rodeo Beach, Biking in Point Pinole and Miller/Knox Regional Shoreline Parks, Travis Ishikawa and Other One-Hit Wonders, Records I Have Not Known (Or At Least Right Away), San Francisco Financial District Public Open Spaces, I'm No Country Fool: The True Origins of the Who's First Single, The Top Ten Unreleased Albums From the Mid-1960s Through the Early 1970s, Candlestick Park & the Candlestick Point Recreation Area, The Origin of the Beatles' "I Got to Find My Baby", Goin' to Kansas City: The Origins of The City's Anthem, The 1960 World Series: The Game Remains the Same, Some Rock History Fanzines You Might Have Missed, Ugly Covers from the Golden Age of Vinyl Reissues, Coke After Coke: Rock Music Commercials in the Late 1960s, Cycling the Bay Bridge: A Path Not Far Enough, Strawberry Fields Memorial -- Please Turn *On* Your Cell Phones, The Rock and Roll Hall of Fame: An Alternate Top Ten, Greg Bollo: He Bowled 'Em Over With His Fastball, Folk-Rock Findings at the Rock & Roll Hall of Fame Library and Archives, One or Two Things I (And You) Didn't Know About the Yardbirds, The Great Lost Christopher Guest-Michael McKean Tape, An Indians Game At Progressive Field: Low-Key Baseball for Out-of-Town Fans, The Rolling Stone Record Guide: The Worst of the Worst, In My (And Your?) How to play “Ocean,” for instance, had first been aired (as “The Ocean”) on John & Beverley Martyn’s 1970 album Stormbringer! The arrangement has a more straightforward combination of acoustic guitar and orchestration, minus the more eccentric instrumental touches. One was “Hang on to a Dream,” which had featured on Tim Hardin’s 1966 debut LP. Her rather predictable version—another arrangement that starts with acoustic guitar backup for a minute-and-a-half before the low-key orchestra comes in—is pleasing but formulaic. Alpert’s 45 might be more lushly orchestrated, Françoise’s employing, as was her wont, more acoustic guitar. Much the same could have been said of Hardy’s cover. The European orchestral pop production is nice too, though again one suspects not wholly to her liking. It doesn’t make this a brilliant overlooked gem, but it does make it different, if just a bit, from anything else she issued in her first decade. Around this time he joined Spooky Tooth; a few years later, he co-founded Foreigner. But it’s still my song, not hers. Even more weirdly, when the track appeared on one of Hardy’s 1963 French EPs, the title was given (in small type) in English as “Think About It” under the large-type title “Avant de T’en Aller” on the back cover. Hardy’s version isn’t radically different, also employing the kind of acoustic guitars and female backup vocals Brown used on his single. Syd Barrett: Unforgotten Hero. Although he didn’t start in rock, and never kept solely to rock in his long and storied career, Serge Gainsbourg is now pretty famous to listeners outside of France. She then did three to four performances as a singer in some musicarelli in Italy, for example, Questo pazzo, pazzo mondo della canzone in 1965. 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. When Samantha Jones left the Vernons Girls in mid-1964, she continued to work with Charles Blackwell, who’d produced and written their 1964 single “Only You Can Do It,” covered later that year by Hardy. 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. “Take My Hand for a While” was a far more interesting performance than the other Sainte-Marie cover on If You Listen, “Until It’s Time for You to Go.” For one thing, “Until It’s Time for You to Go” had been covered by many artists, making it one of her least interesting cover selections. The vocal’s teasingly playful, almost as if Hardy’s joyful at being set free, rather than tearful at being torn apart. This marks the first time these have been widely available with comprehensive English-language liner notes, which note the oft-obscure sources for the songs she covered on these albums. And she’d record this song in English under its original title as well. There might not be any relationship between “Avant de T’en Aller” and Distel’s “Ne Dis Rien” besides the melody. Remarkably (again with the exception of that late-‘60s English-language album), very few of these were US or UK hits. The connection between the Vernons Girls and Hardy didn’t end with “Only You Can Do It,” however, as Françoise would cover a couple of the solo tracks issued by one of the Vernons Girls, Samantha Jones, in 1965. Hardy wasn’t done with the Blackwell-Jones connection after “Just Call and I’ll Be There” (which she recorded in English as well as a French translation). Light drums are added before the expected addition of orchestration after a minute-and-a-half or so. The arrangement uses the same kind of backing vocals and dancing strings as the original, but with a little more verve. And, as with “Only You Can Do It,” it was just a hop, skip and a jump to reconfigure it for a Françoise Hardy record. 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. 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]. It might be a layered, mannered production, but as the cliché goes, for what it is, it’s pretty good. Françoise Madeleine Hardy ( French pronunciation: [fʁɑ̃swaz madlɛn aʁdi]; born 17 January 1944) is a French singer-songwriter. Her blog, Spiked Candy, is at spikedcandy.com. Les Feuilles Mortes (German LP Portrait in Musik, 1965), Original version: Yves Montand, mid-1940s. But this was the year before Anka’s “Sunshine Baby” was released. Because of her difficult upbringing, Hardy became painfully shy – a trait which is still part of her character today. This same year, Hardy played a minor role as the Mayor's assistant in Clive Donner’s film What's New Pussycat? After almost two minutes, of course, an orchestra enters to alter the mood, followed by ethereal backup vocals. Many were by French composers who are basically unknown outside of France. About the only hint of melodic ambition comes at a part in the verse where the tune briefly augments in a minor direction. And she’s a better and more interesting singer than Brown, which alone would make it more appealing to the average Françoise fan, though it’s not her most imaginative interpretation. [G D A E] Chords for Francoise Hardy - Only Friends (ton meilleur ami) with capo transposer, play along with guitar, piano, ukulele & mandolin. 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. Her parents lived apart when she was young; her father contributed little financially to the family and had little to do with his daughters. 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. 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. It peaked at #53, though it made it to #10 in the country listings. Another highlight of Le Soleil, with another neat descending melody, if not quite on par with “Fleur de Lune.” There’s an urgency to both the vocals and arrangement that was missing on many of her late-‘60s/early-‘70s efforts, as well as nifty hastily strummed acoustic guitar and dancing, jittery rhythms. Complained Wilde in the July 2019 issue of Record Collector, “This annoys me, because Françoise bugged me off com;pletely. 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. Ver 1. 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. The colorful, controversial Napier-Bell has never made great claims for his songwriting; indeed, he sometimes seems to take pleasure in disparaging it. Following this role, Françoise Hardy did not want to make films anymore, but in 1972 she had a cameo role as a hippie in the film Les Colombes (The Doves) by the Québécois filmmaker Jean-Claude Lord. 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. [17] She regained her health after two years and began returning to the recording studio in November 2017. Released in February 1965 as the A-side of Samantha Jones’s second single (the B-side was also covered by Hardy; see above entry), “Don’t Come Any Closer” was another track more impressive for the production and song than her vocal. Instrumentally it follows the original arrangement fairly closely, though it’s a bit faster, and the backing vocals have a more Continental feel. It’s one of her sexiest, strongest vocals, and even the sha-la-la-la’s of the female backup singers are quite intoxicating. There’s something rather lovely about dark tones and minor keys.”. The French movie 8 Femmes (2002) features her song "Message Personnel" as sung by the French actress Isabelle Huppert. [23] She had a small role in the 1966 film Grand Prix, starring Montand as a champion race car driver. Her recording of the song "Il n'y a pas d'amour heureux", composed by Louis Aragon, is played in the Norwegian film Tatt av Kvinnen (2007). In fact, his standing was so high that most singers dreamed of covering one of his songs. ), p.s. Such was the case with “Only You Can Do It,” which had been a flop single for the Vernons [sic] Girls earlier in 1964. Sometimes (French LP Françoise Hardy, 1972; titled If You Listen on CD reissue). Discover (and save!) She can’t resist bringing in the strings for the final part, though these are muted by her standards. 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.”. As “Tar and Cement,” it became an unlikely Top 40 hit for Verdelle Smith in 1966, who gave it a treatment combining folk and orchestral pop. 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. Like “Il Ragazzo Della Via Gluck,” it’s not one of my favorite Hardy tracks from the era, but I like it better than the original, as it’s almost like the more grating features have been sanded off into something more palatable. That’s not simply because her versions were often markedly superior to the originals; nearly always at least as good; and seldom (except for a late-‘60s English-language LP where she tackled numerous well-known American songs) markedly inferior. [1] With the aid of photographer Jean-Marie Périer, Hardy began modeling and soon became a popular fashion icon as well. Françoise then recorded a French version, writing her own French-language lyrics. 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. 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. Later she turned out to be as alluring as Françoise. Although it was a pretty enough ballad with acoustic guitar and a dash of harpsichord and light orchestration, there wasn’t much to set it apart from much similar music of the early ‘70s. 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. It’s hard to imagine her or anyone else she worked with stumbling across it in a shop. There’s some strings here, too, but they’re more subtle, and her singing is nicely nuanced, as if she’s just about keeping her emotions below a boil. But ever since it’s been listed as ‘Wilde-Hardy,’ like she wrote it, which is a joke.” Added Wilde unnecessarily, “I mean, Françoise might have written the French lyric but who bloody cares about France, anyway? Considering the obscurity of the original version, one wonders how it made its way to Hardy. Pro Play This Tab. 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).