tuto guitare françoise hardy
LA MAISON OU J'AI GRANDI by FRANCOISE HARDY First released in 1966 Chords used: G: 355433 D7: x5453x Em: 022000 G D7 quand je me tourne vers mes souvenirs D7 G … She’d done so in 1963 when she covered the Connie Francis B-side “It’s Gonna Take Me Some Time.” She did so again in 1964 on “C’est La Passé,” her French-language version of “Once Upon a Time,” which had been on the B-side of Dusty Springfield’s first solo single (and first international smash), “I Only Want to Be With You.” It was also one of the few songs Springfield herself wrote in her early career. I’d heard some of these original versions, but this made me more determined to hear the originals, and give more thought in general to this facet of her work. (exclamation point included). But it’s still my song, not hers. You’ll love the way she sings. It’s one of her sexiest, strongest vocals, and even the sha-la-la-la’s of the female backup singers are quite intoxicating. Taiguara interjected some spoken murmurings near the end—not ones I can translate from the Portuguese, but which I feel pretty confident about guessing are romantic/poetic in nature. Loves to perform. 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. In addition to being one of the most famous standards of any kind in France, in 1960 it became an American Top Ten hit for Bobby Darin, who sang it in English under the title “Beyond the Sea.”. 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. Tabs Articles Forums Wiki + Publish tab Pro. 05.01.2018 - Françoise Hardy playing an acoustic guitar circa 1963 And here’s one instance where Hardy’s suave approach was less suited toward the song than the more emotional, soulful one deployed by Dusty. As for why she covered the tune, she commented in the liner notes to a 2010 CD reissue, “That’s the Welsh in me. For all its slightness, it’s something Vogue apparently had high hopes for, adapting it into French with songwriters Jil and Jan, who’d also written for France’s top ‘60s male rock singer, Johnny Hallyday. 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. One of her targets was “Ci Sono Cose Piu Grandi,” by Italian singer Tony Renis. [18], In 1981, she married her long-time partner Jacques Dutronc, who is the father of her son Thomas Dutronc, born in 1973. She’d cover the A-side of Jones’s second single, “Don’t Come Any Closer,” on her next French EP. MOJO, Collections, French Pop Winter 2001. La Mer (German LP Portrait in Musik, 1965). Her song "Tous les garçons et les filles" played during the British film Metroland (1997) and Bernardo Bertolucci's The Dreamers (2003). Somewhat like the quirky 1970 LP Nilsson Does Newman, it might have brought some attention to a cult singer-songwriter who sorely needed it. He didn’t, however, write “Quand Je Te Regarde Vivre” (“When I Watch You Live”), which is credited to Martine Habib (with whom he’d recorded a cover of the Hazlewood-Nancy Sinatra hit “Summer Wine”) and his producers, George Chatelain and Bernard Estardy. It is one of her moodiest and even most menacing performances, without sacrificing her trademark soaring melodies. Light drums are added in the final sections, the track concluding with a fanfare of slowly, dramatically plucked classical piano. The guitar does solo for an uncommonly long time near the end, for a Hardy track at any rate. I feel happy when I'm on my bed, in my room with a good book. "Femme parmi les femmes" ("Woman among women"), written by, Françoise Hardy canta per voi in italiano, "La tercera edad de un icono del pop francés", "Jacques Dutronc : qui est sa compagne, Sylvie Duval ? Too bad it’s one of the least memorable of the songs she chose to interpret, however, when all’s said and done. And Françoise navigates the swoops into the lower register, as well as the transition to a jazzier bridge, with charming ease. Her blog, Spiked Candy, is at spikedcandy.com. Needs lots of love. Hardy was generally drifting away from rock, albeit of the poppiest orchestral-girl group sort, and into more sentimental pop in 1966. This was not, incidentally, the only instance in which Napier-Bell wrote for Françoise. 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. As a leading figure of the yé-yé movement, Hardy "found herself at the very forefront of the French music scene" and became "France's … Hardy is in general rather dismissive of many of her early-‘60s recordings, and one imagines that this is one of the tracks in which she takes least pride. It’s no shock that she gives it a much quieter, more thoughtful vocal, though the orchestra and choral backup vocals still make their entrances as if on cue. But check out Distel’s record anyway as an example of the rather rougher, more ostentatious way older male French singers of the time handled similar material—a manner that’s likely less to the liking of most twenty-first-century English-speaking listeners. Her song "All Because of You" was covered by Jessica Sula and appeared in the first episode of the sixth season of Skins. 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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? The opening desolate, echoing percussion was nifty too. Unlike the average Hardy song of the period, it has a pronounced hit-worthy catchy vocal hook in the chorus. Hardin wasn’t exactly obscure, but he wasn’t a big star either, or even as big as Leonard Cohen, though Bobby Darin had taken Hardin’s “If I Were a Carpenter” into the Top Ten in late 1966. Italian ‘60s pop generally does not make favorable impressions on English-speaking listeners, and I admit I’m one. The European orchestral pop production is nice too, though again one suspects not wholly to her liking. Or even sung with that much distinction, though the orchestra gave it their all when they entered the proceedings, crashing in with the subtlety of a tree falling through the roof. “Son Amour S’Est Endormi” is Hardy’s adaptation of the traditional German folk song “Alle Nächte.” It can’t said for certain which version or record she might have learned this from, or if she even learned it from a performance or recording, traditional folk songs often passing on through other means. [14] She reportedly hated the song, saying that it was recorded "in three hours with the worst four musicians in Paris". 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. 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). Pourtant Tu M’Aimes (French EP, early-to-mid-1964), Original version: The Joys (as “I Still Love Him”), 1964. 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. ... Soleil – Françoise Hardy. "Comment te dire adieu" (English: "How to Say Goodbye to You") is a French adaptation of the song "It Hurts to Say Goodbye". In my view—and with so many Françoise fans, there are bound to be many who disagree—this record showed her slipping distressingly further into less interesting middle-of-the-road pop. It rose to #45 in the Top Hundred in 1960, though I don’t remember it ever being played on oldies radio. Not at all part of the yé-yé scene, she was already in her early forties by the time she recorded the original version of “Ma Jeunesse Fout L’Camp” in the early 1960s. Hardy’s second cover, in contrast to her first, was one of her greatest and most famous recordings. As “Man of Constant Sorrow,” the song has been recorded by many artists, including (on his first LP) Bob Dylan, an artist of whom Hardy was certainly aware (and had personally met when he played Paris on his 1966 European tour). The Hallyday connection didn’t end there—“Oh Oh Cheri” was designed as an “answer” song to Hallyday’s “Oh! Uptempo rock wasn’t among her strengths, and she doesn’t have the kind of ultra-high-pitched R&B voice that paced the Majors’ original. Some fans will find it heresy—indeed, be outraged—to have these five songs from En Anglais grouped into one entry and, essentially, dismissed. The original starts off promisingly with growling guitar, but the production is overall thinner and more cornily dated than Françoise’s version, and Little Tony’s vocal a little hoarse and overwrought. More importantly, the vocal is simply a lot more interesting, not to mention alluring. Hardy’s arrangement of “Take My Hand for a While” is also distinguished from “Until It’s Time for Me to Go”—and from anything else she cut, for that matter—by the totally unexpected fade-in of backwards noises at the start the track. She does march into a more determined mode for the chorus, without taking the pile-on climax into grandstanding territory. Hardy’s 1972 self-titled album (helpfully identified as If You Listen on its 2000 CD reissue) was lots different from her previous LP. 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]. On his own and with others, British songwriter Tony Macaulay’s long career took in some of the most pop-oriented rock hits of the late 1960s and early 1970s. And in late 1967, Noel Harrison had a small US hit with “Suzanne,” while in the UK, Fairport Convention did a great folk-rock version on the BBC in September 1968, though they didn’t put it on any of their studio releases. Continue. Hardy tones down the more overt mannerisms of Mina in her vocal—no surprise there—and gives it a far, frankly, breathier approach. As noted in the entry on “Lonesome Town,” early rock’n’roll was a big formative influence on Françoise. It’s kind of hard to picture Hardy as an on-the-road rambler, but that’s the role she takes here, Macaulay making better and catchier use of those periodic bends into more bittersweet melody. 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). Although the song hadn’t been a US or UK hit for anyone, by the time it appeared on Hardy’s 1972 album, it had been covered so much it was nearly a standard. “Comment te Dire Adieu” is not just upbeat—it’s downright jaunty, with a light swing and pseudo-Herb Albert trumpet that almost puts it in bachelor pad music territory. [1][5], Hardy remains a popular figure in music and fashion[6][7] and is considered an icon of French pop and of the 1960s. Saved by Clink. Her breathy, whispery delivery is loads more appealing than Taylor’s stolid singing, which is very much in the most reserved “we’re British, no facial expression please” wing of UK folk-rock.