{"id":8715,"date":"2015-10-30T05:30:40","date_gmt":"2015-10-30T09:30:40","guid":{"rendered":"http:\/\/blog.musoscribe.com\/?p=8715"},"modified":"2020-08-05T08:10:05","modified_gmt":"2020-08-05T12:10:05","slug":"album-review-francoise-hardy-reissue-series-part-3","status":"publish","type":"post","link":"http:\/\/blog.musoscribe.com\/index.php\/2015\/10\/30\/album-review-francoise-hardy-reissue-series-part-3\/","title":{"rendered":"Album Review: Fran\u00e7oise Hardy Reissue Series (Part 3)"},"content":{"rendered":"

Continued from Part Two<\/a><\/em>…<\/p>\n

\"\"<\/p>\n

L\u2019Amiti\u00e9<\/strong><\/em> (yet again aka <\/strong>Fran\u00e7oise Hardy<\/strong><\/em>)<\/strong>
\nBy all accounts, the half-originals\/half-covers approach was working well for Fran\u00e7oise Hardy<\/strong>. So was the idea of having twelve \u2013 not eleven, never thirteen — songs on each album. And the idea of mixing musical exploration with more traditional arrangements had been serving her well. So it’s little surprise that in those respects, L’Amiti\u00e9<\/em> follows the path laid out on previous discs, right down to the returning Charles Blackwell Orchestra<\/strong>.<\/p>\n

The record opens with \u201cCe petit c\u0153ur\u201d (\u201cThis Little Heart\u201d), and finds Hardy’s musical backing sounding very much like The Stone Poneys<\/strong> backing Linda Ronstadt<\/strong> on Mike Nesmith<\/strong>‘s \u201cDifferent Drum.\u201d Notably, the Stone Poneys record was released some twenty months after<\/em> this record.<\/p>\n

\u201cTout ce qu’on dit\u201d (\u201cEvery Word\u201d) doesn’t rock as hard as \u201cJe n\u2019attends plus personne,\u201d and the electric guitar parts are, for most of the tune, put deeper into the mix, but this new tune doesn’t sport all of the traditional pop trappings of the earlier tune, either. Furthermore, this song marks one of the earliest instances of the singer breaking out of a limited range of notes; she starts low and quiet, and lets her voice soar \u2013 albeit briefly — as she heads into upper registers: it’s the sound of an artist maturing.<\/p>\n