{"id":8713,"date":"2015-10-29T05:30:09","date_gmt":"2015-10-29T09:30:09","guid":{"rendered":"http:\/\/blog.musoscribe.com\/?p=8713"},"modified":"2015-10-30T12:28:20","modified_gmt":"2015-10-30T12:28:20","slug":"album-review-francoise-hardy-reissue-series-part-2","status":"publish","type":"post","link":"http:\/\/blog.musoscribe.com\/index.php\/2015\/10\/29\/album-review-francoise-hardy-reissue-series-part-2\/","title":{"rendered":"Album Review: Fran\u00e7oise Hardy Reissue Series (Part 2)"},"content":{"rendered":"<p><em>Continued from <a href=\" http:\/\/blog.musoscribe.com\/?p=8708\">Part One<\/a>&#8230;<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright\" src=\"http:\/\/musoscribe.com\/images\/hardy02.jpg\" alt=\"\" width=\"280\" height=\"280\" hspace=\"20\" vspace=\"20\" \/><\/p>\n<p><strong><em>Le Premier Bonheur du Jour <\/em>(aka<em> Fran\u00e7oise Hardy<\/em>)<\/strong><br \/>\nA critical and commercial success at home (and modestly so beyond France&#8217;s borders), <strong>Fran\u00e7oise Hardy<\/strong>&#8216;s debut led quickly to a follow-up album. Released in October 1963 and again featuring only the artist&#8217;s face and name on the cover, not unlike a fashion magazine (so <em>that&#8217;s<\/em> where <strong>Peter Gabriel<\/strong> got the idea!), the album is now known (and titled on the new Light in the Attic reissues) as <em>Le Premier Bonheur du Jour<\/em> (&#8220;The First Day Happiness&#8221;) after its single. (In the UK the record was released 1964 as <em>In Vogue<\/em>.)<\/p>\n<p>Nearly half of the record&#8217;s twelve tunes are solo Hardy compositions (both music and lyrics). The arrangement approach expands in many directions from the relatively monochromatic character of the debut. More ambitious and prominent orchestration are hallmarks of the single and \u201cVa pas prendre un tambour,\u201d another <strong>Jacques Dutronc<\/strong> number.<\/p>\n<p>Hardy and producer <strong>Jacques Wolfsohn<\/strong> seem to have absorbed some influences from outside France for both their musical approach (\u201cVa pas\u201d sounds a bit like a <strong>Ricky Nelson<\/strong> track) and the songs themselves. Both <strong>Paul Anka<\/strong> (his \u201cThink About It\u201d rewritten here as \u201cAvant de t&#8217;en aller\u201d [\u201cBefore You Go Away\u201d]) and <strong>Burt Bacharach<\/strong>\/<strong>Hal David<\/strong> (<strong>Timi Yuro<\/strong>&#8216;s 1962 hit \u201cThe Love of a Boy\u201d translated to \u201cL&#8217;Amour d&#8217;un gar\u00e7on\u201d) are drawn upon for material. Anka&#8217;s tune features prominent backing vocals (likely overdubbed by Hardy), something rarely found on previous Hardy tracks.<\/p>\n<p><iframe loading=\"lazy\" style=\"float: left; padding: 10px; width: 120px; height: 240px;\" src=\"\/\/ws-na.amazon-adsystem.com\/widgets\/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=US&amp;source=ss&amp;ref=ss_til&amp;ad_type=product_link&amp;tracking_id=musoscribe-20&amp;marketplace=amazon&amp;region=US&amp;placement=B014AGFBV2&amp;asins=B014AGFBV2&amp;linkId=NPQOEN7GE5PLGGNE&amp;show_border=true&amp;link_opens_in_new_window=true\" width=\"320\" height=\"240\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>The Fran\u00e7oise Hardy original, \u201cComme tant d&#8217;autres\u201d (\u201cLike Many Others\u201d) is peppered with some well-placed jazzy organ fills reminiscent of <strong>Brian Auger<\/strong>. Another original, the gentle \u201cJ&#8217;aurais voulu\u201d (\u201cI Would Have Liked\u201d) makes effective use of nylon-string guitar; the arrangement conjures visions of Hardy strolling contemplatively through a field while she sings.<\/p>\n<p>The exceedingly brief (1:43) \u201cNous tous\u201d (\u201cAll of Us\u201d) displays some peppy drum work that threatens to \u2013 but never quite does \u2013 rock out. Hardy&#8217;s trademark delivery keeps things firmly in check. \u201cL&#8217;Amour d&#8217;un gar\u00e7on\u201d features brass, horns and soulful girl-group styled backing vocals (definitely not Hardy), and while on paper that description suggests an arrangement that could overwhelm the singer, such a thing never happens. On the outro, Hardy comes closest yet to singing in English with a couple of \u201cwoah-oh\u201d vocalizations.<\/p>\n<p>The melodramatic \u201cL&#8217;Amour ne dure pas toujours\u201d (\u201cLove Does Not Always Last,\u201d another original) is like nothing in Hardy&#8217;s previous work. Assertive organ work all but duets with the vocalist; even when other instruments and wordless backing vocals join in, the song is all about the dialogue between Hardy and the haunted-house keyboard. A French adaptation \u2013 by Hardy \u2013 of the <strong>Connie Francis<\/strong> hit \u201cIt&#8217;s Gonna Take Me Some Time,\u201d \u201cOn dit de lui\u201d (\u201cIt is Said of Him\u201d) features some out-front twangy guitar (with wah-wah pedal!) and wop-dat-doo-wop backing vocals that suggest a French <strong>Jordanaires<\/strong>.<\/p>\n<p>A few months after her second album&#8217;s release, Fran\u00e7oise Hardy cut and released an Italian-language album, appropriately titled <em>Fran\u00e7oise Hardy canta per voi in italiano<\/em>. Not included in Light in the Attic&#8217;s new reissue series, the album featured re-recordings of selections from Hardy&#8217;s first two long players.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright\" src=\"http:\/\/musoscribe.com\/images\/hardy03.jpg\" alt=\"\" width=\"280\" height=\"280\" hspace=\"20\" vspace=\"20\" \/><\/p>\n<p><strong><em>Mon Amie la Rose<\/em> (aka <em>Fran\u00e7oise Hardy<\/em>)<\/strong><br \/>\nHardy kept up both her release schedule and her practice of self-titling all of her albums with this October 1964 disc. Again recording with Jacques Wolfsohn as producer, this disc \u2013 her most varied yet &#8212; found Hardy working with the <strong>Charles Blackwell Orchestra<\/strong>. What she did change was the recording studio; leaving for the first time (at least for her francophone releases) the confines of Studio Vogue, Hardy crossed <em>la Manche<\/em> and landed at Pye Studios in London, the same place that <strong>The Kinks<\/strong> cut their records in those days.<\/p>\n<p>Again featuring a mix of originals and outside compositions, <em>Mon Amie la Rose<\/em> relies more on French composers for the latter. Released stateside with different cover art in 1966 as <em>Maid in Paris<\/em> (and elsewhere as <em>Fantastic Fran<\/em><em>\u00e7<\/em><em>oise<\/em>), the disc features the hit \u201cDans le monde entier.\u201d An English-language version of the song (\u201cAll Over the World\u201d) became a hit in English-speaking countries including the UK, where it went Top 20 in the spring of 1965.<\/p>\n<p><iframe loading=\"lazy\" style=\"float: left; padding: 10px; width: 120px; height: 240px;\" src=\"\/\/ws-na.amazon-adsystem.com\/widgets\/q?ServiceVersion=20070822&amp;OneJS=1&amp;Operation=GetAdHtml&amp;MarketPlace=US&amp;source=ss&amp;ref=ss_til&amp;ad_type=product_link&amp;tracking_id=musoscribe-20&amp;marketplace=amazon&amp;region=US&amp;placement=B014AGFETQ&amp;asins=B014AGFETQ&amp;linkId=FHWPGYDUVHFKX7DU&amp;show_border=true&amp;link_opens_in_new_window=true\" width=\"320\" height=\"240\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>The record&#8217;s sound moves closer to a sort of Gallic folk-rock; the shimmering, insistent acoustic guitars and soaring massed vocals of \u201cJe veux qu\u2019il revienne\u201d (\u201cI Want Him Back\u201d) aren&#8217;t radically different from <strong>The Seekers<\/strong> or even <a href=\"http:\/\/blog.musoscribe.com\/?p=5720\"><strong>The Mamas and The Papas<\/strong><\/a>. With its country and western feel \u2013 including syrupy strings and moaning chorus vocals \u2013 Hardy&#8217;s orignal \u201cTu ne dis rien\u201d (\u201cYou Say Nothing\u201d) feels like a <strong>Marty Robbins<\/strong> tune. And \u201cEt m\u00eame\u201d (\u201cAnd Even\u201d) unabashedly horns into <strong>Phil Spector<\/strong>&#8216;s wall of sound territory, with rumbling tympani and perhaps more instrumentation than is found on any other Hardy song. Hardy remains calm and controlled and above it all, somehow. The sexy go-go ambience of \u201cPourtant tu m\u2019aimes\u201d (\u201cYet You Love Me\u201d) traffics further in girl-group sound, and its arrangement seems custom-made for a film soundtrack.<\/p>\n<p>\u201cPars\u201d (\u201cLeave Off\u201d) is an understated, acoustic number that leaves the modern-day listner wholly unprepared for the next track (on the original record, this is the point at which listeners had to flip the disc). \u201cJe n\u2019attends plus personne\u201d (\u201cI Expect Nobody\u201d) is Hardy&#8217;s French adaptation of an Italian tune, \u201cNon aspetto nessuno\u201d (a slightly different translation yields \u201cNot Expecting Anyone\u201d). Featuring some shockingly nasty fuzz guitar riffage, it starts out sounding like some sort of French blues. But as the tune unfolds, it heads in a completely different adult-pop direction, albeit with that fuzz guitar, buried as it is under strings. But then the guitar solo hits \u2013 courtesy of a studio musician called <a href=\"http:\/\/blog.musoscribe.com\/?p=8401\"><strong>Jimmy Page<\/strong><\/a> &#8212; and it&#8217;s a crazed, amped-up, hard rocking thing that must have knocked Hardy&#8217;s longtime fans out of their chairs. The drums swing pretty hard, too. The sounds on \u201cJe n\u2019attends plus personne\u201d are nothing short of radical for 1964.<\/p>\n<p>The remainder of <em>Mon Amie la Rose<\/em> lets listeners catch their breath after that stylistic left-turn. Pizzicato strings and a folk rock approach not unlike <strong>Lulu<\/strong> are hallmarks of \u201cNous \u00e9tions amies\u201d (\u201cWe Were Friends\u201d). A Spanish flavor pervades the title track, which closes the album.<\/p>\n<p>Predating the multiple-language release strategy that Apple Records would employ for <strong>Mary Hopkin<\/strong>, Hardy followed up <em>Mon Amie la Rose<\/em> with yet another foregin-language disc, this time singing in German: <em>In Deutschland<\/em> was released in September 1965. Unlike <em>Fran\u00e7oise Hardy canta per voi in italiano<\/em>, this record featured new songs alongside German-language versions of earlier material. (The Light in the Attic series focuses strictly on Hardy&#8217;s French releases of the era, so <em>In Deutschland<\/em> is not part of that set, and is not covered in detail here.)<\/p>\n<p><em><a href=\"http:\/\/blog.musoscribe.com\/index.php\/2015\/10\/30\/album-review-francoise-hardy-reissue-series-part-3\/\">Click here to continue to Part 3 (conclusion)<\/a>&#8230;<\/em><\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/www.twitter.com\/the_musoscribe\">Follow \u201cthe_musoscribe\u201d on <img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/musoscribe.com\/images\/icon_twitter_small.jpg\" alt=\"\" width=\"18\" height=\"18\" border=\"0\" hspace=\"1\" vspace=\"0\" \/> Twitter<\/a> and get notified<br \/>\nwhen new features, reviews and essays are published.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Continued from Part One&#8230; Le Premier Bonheur du Jour (aka Fran\u00e7oise Hardy) A critical and commercial success at home (and modestly so beyond France&#8217;s borders), Fran\u00e7oise Hardy&#8216;s debut led quickly [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":8926,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[14,51,64,65],"tags":[856,1319],"class_list":["post-8713","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chanson","category-pop","category-reissue","category-review","tag-francoise-hardy","tag-light-in-the-attic","cat-14-id","cat-51-id","cat-64-id","cat-65-id","has_thumb"],"_links":{"self":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/posts\/8713","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/comments?post=8713"}],"version-history":[{"count":4,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/posts\/8713\/revisions"}],"predecessor-version":[{"id":9514,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/posts\/8713\/revisions\/9514"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/media\/8926"}],"wp:attachment":[{"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/media?parent=8713"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/categories?post=8713"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blog.musoscribe.com\/index.php\/wp-json\/wp\/v2\/tags?post=8713"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}