Here’s five more brief reviews; this time we’ve got progressive rock, powerpop, indie chamber pop, goth rock and one album that’s simply beyond easy classification. What they all have in common is that they’re new, they’re indie, they’d be likely to escape your notice if you didn’t visit Musoscribe, and they’re all quite, quite good.
Continued from Part Two… L’Amitié (yet again aka Françoise Hardy) By all accounts, the half-originals/half-covers approach was working well for Françoise Hardy. So was the idea of having twelve – not eleven, never thirteen — songs on each album. And the idea of mixing musical exploration with more traditional arrangements had been serving her well.
Continued from Part One… Le Premier Bonheur du Jour (aka Françoise Hardy) A critical and commercial success at home (and modestly so beyond France’s borders), Françoise Hardy‘s debut led quickly to a follow-up album. Released in October 1963 and again featuring only the artist’s face and name on the cover, not unlike a fashion magazine
Looking back on the 1960s, it’s easy to understand why certain countries didn’t get whipped up in the era’s rock and pop revolution quite to the extent that we did in the USA and Great Britain. Spain, for example, was still under the fascist dictatorship of Generalissimo Francisco Franco, and would remain so until the