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viewing 1 To 19 of 19 items
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LP
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DMOO 001LP
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Destination Moon present a reissue of Françoise Hardy's self-titled album, originally released in 1962. Françoise Hardy became an international sensation during the early 1960s through her albums on Disques Vogue, the French jazz label that then began showcasing chanson. She signed to the label at seventeen after answering a newspaper advertisement recruiting unknown singers while she was a freshman at the Sorbonne, the B-side of debut single, "Tous Les Garçons Et Les Filles", brought her to the forefront of the yé-yé movement, mixing chanson with Anglophone rock and pop, and paving the way for this debut LP, which was lauded by the likes of Bob Dylan and Mick Jagger. This first offering is still arguably her best -- grab it now to understand why! Clear vinyl.
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LP
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AC 8087LP
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Françoise Hardy, live at L'Olympia, Paris, France; 1963-1965. This remarkable collection of live performances, originally broadcast on French Radio Europe 1's "Musicorama" Special, between 1963 and 1965, captures the iconic Françoise Hardy in her early prime. It includes many of her best-known songs, and confirms her position at the vanguard of contemporary yé-yé singers. The entire original French Radio Europe 1 broadcast is presented here, professionally remastered, together with background notes and images. The entire original French Radio Europe 1 broadcast is presented here, professionally remastered, together with comments by Jean-Claude Brialy, background notes, and images.
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3CD
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ACME 344CD
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"Françoise Hardy's dreamy debut album, recorded when she was just eighteen, features 'Tous Les Garçons Et Les Filles' (All The Boys And Girls), a song that was less a hit than a social phenomenon. The single sold five million copies worldwide. The public responded to Françoise' disarming naturalness; her singular, understated voice; the combination of intensity, intelligence and mystery. And the way she so effortlessly combined simplicity with sophistication. She was a breath of fresh air. Françoise' vital debut recordings are presented here alongside 'Françoise Hardy - Canta Per Voi In Italiano' (Sings For You In Italian), and complemented by an anthology of sublime instrumental jazz sessions by her friend and contemporary, Sacha Distel. In the period when these recordings were made -- before he became an international singing star -- Sacha was widely considered to be the finest jazz guitarist in France, winning many polls and recording prolifically. (Françoise would later appear as a guest on Sacha's TV show where they performed a duet, accompanied by his guitar, a beautiful version of 'Le Premier Bonheur Du Jour') The set includes historic sessions with John Lewis of the Modern Jazz Quartet, with the Belgian saxophonist/flautist Bobby Jaspar and with guitarist Jean-Pierre Sasson; Sacha's tribute to the master, the Hommage A Django EP, and the first recording of his most famous composition, 'Marina (The Good Life)' -- the million selling song which would become one of the great standards of easy listening and prove over many decades to be a signature tune for Tony Bennett. It was written originally for Roger Vadim's contribution to the 'L'orgueil (Pride)' chapter of the portmanteau film, 'Les sept péchés capitaux (The Seven Deadly Sins)'; the sequence appearing alongside sketches by Godard, Chabrol and Demy."
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CD
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AC 8087CD
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Françoise Hardy, live at L'Olympia, Paris, France; 1963-1965. This remarkable collection of live performances, originally broadcast on French Radio Europe 1's "Musicorama" Special, between 1963 and 1965, captures the iconic Françoise Hardy in her early prime. It includes many of her best-known songs, and confirms her position at the vanguard of contemporary yé-yé singers. The entire original French Radio Europe 1 broadcast is presented here, professionally remastered, together with background notes and images.
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FDR 617LP
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180-gram LP version. Housed in deluxe Stoughton jacket. "By 1965, Françoise Hardy was truly international. She'd hung out with The Beatles and The Stones, played high-profile shows in London, established a working relationship with British producer Charles Blackwell, and appeared in the film What's New Pussycat? She was also a fashion icon seen in the pages of Marie Claire and Vogue and on the cover of Elle, and her first US album was issued that year. In France, Hardy was to release album number four, the second album to be recorded in London, where her celebrity was rapidly growing -- at odds with her natural shyness. 'In London, it was the first time I'd been made to think I had a certain charm or charisma,' she says now. 'Thanks to the time in England, I became aware I could be seductive.' L'Amitié, with its evocative, close-up album cover and late-night sound, is the result. Produced by Jacques Wolfsohn alongside arranger Charles Blackwell, the sessions were notable for some distracting visitors. 'Mick Jagger was there a few times with various entourages of his at Pye [Studios],' recalls Blackwell. 'There was a long seat in front of the mixing desk where they used to sit.' Hardy was, however, not the epitome of the swinging '60s idyll; she was an intellectual, into yoga and Buddhism and astrology, and she still noted French chanson singers George Brassens and Jacques Brel as favorites alongside Elvis, Dionne Warwick, and The Rolling Stones. Despite her new links to the world of fashion, the tentative steps into film, the growing international awareness, and the attention she brought sheerly through her presence, music remained Françoise's focus, and her fourth album more than demonstrated this. A mix of Hardy's own songs, Blackwell's songs, and tracks from writers including Jean-Max Rivière and Gérard Bourgeois (who wrote the title track), the sound focused on stirring, heavy pop, not least in the yearning 'L'Amitié.' 'I'm still very proud of "L'Amitié,"' says Françoise, who's wont to undervalue her own work. 'The French lyrics are so very moving.' Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."
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LP
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FDR 618LP
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180-gram LP version. Housed in deluxe Stoughton gatefold sleeve.
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FDR 615LP
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180-gram LP version. Housed in a deluxe Stoughton jacket. "Like her 1962 debut, the cover of the following year's Le Premier Bonheur Du Jour had Hardy staring enigmatically at the listener. On the album itself, the sound had changed in line with Hardy's solidifying vision and voice; where Tous Les Garçons Et Les Filles was produced by a series of collaborators who struggled to understand her style, Le Premier Bonheur Du Jour gave fans the most significant insight so far into the identity of Françoise Hardy. In 1963, at a time when Serge Gainsbourg was tentatively dipping a toe into pop and the term yé-yé was only just being coined, Hardy was a rare thing: a singer-songwriter with heaps of her own material but not a folk singer in any sense. Hers was pop music that took the weight of chanson on its shoulders. Here, 'Comme Tant D'Autres' says, 'I know well that life is short, and I've been around' -- hardly 'She loves you, yeah yeah yeah.' For the tracks on Le Premier Bonheur Du Jour, Hardy was produced by arranger Marcel Hendrix. As well as her own compositions, 'L'Amour D'Un Garçon' saw Hardy adapt Burt Bacharach and Hal David's 'The Love Of A Boy.' In a contemporary interview, she said she would not perform songs where there was no sense of the words touching her intimately. 'A song -- it is your own story, or it is nothing,' she said. It was another year before Hardy's records were issued in Britain and another year before she started to brush up against the likes of Bob Dylan, The Beatles, and The Stones, but life was changing for the 19-year-old. Her unique sound would take her far, despite admitting now that she 'had no ambition. At the beginning, my ambition was to record something. I thought anything outside France was an impossible dream, but I did what I could to make it come true. It was like a current that carried me.' Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."
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FDR 616LP
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180-gram LP version. Housed in deluxe Stoughton jacket. "Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler. Following the French success of 1962's Tous Les Garçons Et Les Filles and 1963's Le Premier Bonheur Du Jour, 1964 was the year Hardy went truly international. Having competed in the Eurovision Song Contest and acted in a Roger Vadim film, this was the year Dylan dedicated a poem to her on the sleeve of Another Side and the year she ventured to Britain to record English language songs for the first time. Hardy's first three French EPs of the year, from which just 'Pourtant Tu M'aimes' appears on Mon Amie La Rose, were largely recorded on home soil with Paris-based arranger Mickey Baker. After the third, Françoise changed tack, abandoned French studios and arrangers, and headed to London's Pye Studios. She would not record again in France until 1968, instead employing a series of British producers and musicians that even included then-studio guitarist Jimmy Page. 'It was very difficult for me to convince my record company to go to London for the production because my artistic director was having lots of success with very bad arrangements,' she says dryly. 'Since they were having success with bad arrangements, they could continue like that.' Hardy got her way and, working with arranger Charles Blackwell, a former protégé of Joe Meek, set about creating a new interpretation of her glacial, existentially yearning music: part pop, part chanson, part soul music. On one hand, she was marrying yearning melodies with lyrics examining feelings of otherness. On the other, she was interpreting the music coming from Britain and America -- both that of Phil Spector and country, too. Blackwell was the first arranger with whom Hardy was happy, and Mon Amie La Rose was the first album she thought of as more than an afterthought. 'She chose her own songs and was very in control,' says Blackwell. 'She was very much a perfectionist.' As Hardy's sound was changing, so was her life; the British were enchanted by her Parisian style and sophistication and didn't see her as the shy, sad soul that those at home painted her as. A new era was beginning, and Hardy's music was traveling further than ever."
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LP
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FDR 614LP
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180-gram LP version. "Newly expanded gatefold edition housed in a deluxe Stoughton jacket." "Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs -- pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents -- a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format. Raised by her mother in Paris, Hardy's upbringing was strict, and she was, she notes today, 'a very, very shy person.' Records and Radio Luxembourg provided escape and inspiration -- her two loves were Chanson Française, the Gallic style of Edith Piaf and Charles Aznavour, and rock'n'roll. The Everly Brothers, she says, were a 'lightning bolt.' Sent to The Sorbonne to study political sciences, Hardy instead pursued a career as a singer, auditioning for a number of labels before Johnny Hallyday's Disques Vogue snapped her up, intending to market her as a female rocker -- the track 'Oh Oh Chéri' here gives you a window into their vision. Hardy had other ideas and was determined to record her own songs, written in French, too. The runaway success of one of her own tracks, the iconic 'Tous Les Garçons Et Les Filles,' proved Hardy right. Hardy soon captivated the rest of the world -- she was immortalized in 1964 in a poem by Bob Dylan, she associated with The Stones, and dined with Beatles Paul McCartney and George Harrison. She also soon gained more creative control over her music, and she now distances herself from these early recordings where this was not the case. 'Even if I had been able to say something about the production,' she says now, 'maybe I would have been listened to, but I didn't know anything.' In the album's title track, Hardy sang about being a soul in torment, and this is the Hardy that emerged -- a complicated, pensive outsider, part pop singer, part chanteuse, and utterly unique. And she will forever personify a particularly French brand of cool.Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."
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CD
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FDR 617CD
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"By 1965, Françoise Hardy was truly international. She'd hung out with The Beatles and The Stones, played high-profile shows in London, established a working relationship with British producer Charles Blackwell, and appeared in the film What's New Pussycat? She was also a fashion icon seen in the pages of Marie Claire and Vogue and on the cover of Elle, and her first US album was issued that year. In France, Hardy was to release album number four, the second album to be recorded in London, where her celebrity was rapidly growing -- at odds with her natural shyness. 'In London, it was the first time I'd been made to think I had a certain charm or charisma,' she says now. 'Thanks to the time in England, I became aware I could be seductive.' L'Amitié, with its evocative, close-up album cover and late-night sound, is the result. Produced by Jacques Wolfsohn alongside arranger Charles Blackwell, the sessions were notable for some distracting visitors. 'Mick Jagger was there a few times with various entourages of his at Pye [Studios],' recalls Blackwell. 'There was a long seat in front of the mixing desk where they used to sit.' Hardy was, however, not the epitome of the swinging '60s idyll; she was an intellectual, into yoga and Buddhism and astrology, and she still noted French chanson singers George Brassens and Jacques Brel as favorites alongside Elvis, Dionne Warwick, and The Rolling Stones. Despite her new links to the world of fashion, the tentative steps into film, the growing international awareness, and the attention she brought sheerly through her presence, music remained Françoise's focus, and her fourth album more than demonstrated this. A mix of Hardy's own songs, Blackwell's songs, and tracks from writers including Jean-Max Rivière and Gérard Bourgeois (who wrote the title track), the sound focused on stirring, heavy pop, not least in the yearning 'L'Amitié.' 'I'm still very proud of "L'Amitié,"' says Françoise, who's wont to undervalue her own work. 'The French lyrics are so very moving.' Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."
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CD
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FDR 618CD
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"Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler. Hardy's fifth album was a collection of English-language recordings. For her next, released in October 1966, the focus was back on her home market in France, where things were changing quickly. Writing much of her own material was no longer a novelty -- her future partner, Jacques Dutronc, was doing the same, and artists like Antoine were following Dylan's lead. 1966 was the year Hardy met Dylan, who demanded an audience with her at his Paris gig and later performed for her at a party. 'It was only later that it occurred to me that he was singing "I Want You" because he actually wanted me,' she says. Françoise said Dylan was not part of her world. As La Maison Ou J'Ai Grandi proved, Hardy's world was perfect and fleshed out and set -- five albums in, she had a sound, mood, and feel all her own. Recorded in London, the hit 'La Maison Ou J'Ai Grandi' solidified what Hardy did best: marrying French chanson songs to epic production influenced by Phil Spector, Dusty Springfield, and George Martin; the toweringly powerful 'Je Changerais D'avis,' which opens the LP, is a prime example. Though Hardy had formed a strong working relationship with producer Chris Blackwell, nine of the twelve tracks were arranged by Johnny Harris, known for his work with Petula Clark and Tom Jones. Although the artist and language were French, the album drew from an internationalist, polyglot world -- six tracks were penned by Hardy, the remainder cherry-picked from French, British, and Italian songwriters. And despite its varied sources, the album was a cogent artistic statement. Françoise had returned to acoustic sounds like with her earliest songs, accompanying herself on a Spanish guitar, and was reasserting her own vision of her music. These were yearning songs delivered with an intimate authority, at odds with the perception of Hardy in Britain and beyond, where she was seen as an ultra-fashionable, ultra-hip Parisian sophisticate, but totally in line with everything she'd ever striven for musically."
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CD
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FDR 615CD
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"Like her 1962 debut, the cover of the following year's Le Premier Bonheur Du Jour had Hardy staring enigmatically at the listener. On the album itself, the sound had changed in line with Hardy's solidifying vision and voice; where Tous Les Garçons Et Les Filles was produced by a series of collaborators who struggled to understand her style, Le Premier Bonheur Du Jour gave fans the most significant insight so far into the identity of Françoise Hardy. In 1963, at a time when Serge Gainsbourg was tentatively dipping a toe into pop and the term yé-yé was only just being coined, Hardy was a rare thing: a singer-songwriter with heaps of her own material but not a folk singer in any sense. Hers was pop music that took the weight of chanson on its shoulders. Here, 'Comme Tant D'Autres' says, 'I know well that life is short, and I've been around' -- hardly 'She loves you, yeah yeah yeah.' For the tracks on Le Premier Bonheur Du Jour, Hardy was produced by arranger Marcel Hendrix. As well as her own compositions, 'L'Amour D'Un Garçon' saw Hardy adapt Burt Bacharach and Hal David's 'The Love Of A Boy.' In a contemporary interview, she said she would not perform songs where there was no sense of the words touching her intimately. 'A song -- it is your own story, or it is nothing,' she said. It was another year before Hardy's records were issued in Britain and another year before she started to brush up against the likes of Bob Dylan, The Beatles, and The Stones, but life was changing for the 19-year-old. Her unique sound would take her far, despite admitting now that she 'had no ambition. At the beginning, my ambition was to record something. I thought anything outside France was an impossible dream, but I did what I could to make it come true. It was like a current that carried me.' Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."
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CD
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FDR 616CD
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"Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler. Following the French success of 1962's Tous Les Garçons Et Les Filles and 1963's Le Premier Bonheur Du Jour, 1964 was the year Hardy went truly international. Having competed in the Eurovision Song Contest and acted in a Roger Vadim film, this was the year Dylan dedicated a poem to her on the sleeve of Another Side and the year she ventured to Britain to record English language songs for the first time. Hardy's first three French EPs of the year, from which just 'Pourtant Tu M'aimes' appears on Mon Amie La Rose, were largely recorded on home soil with Paris-based arranger Mickey Baker. After the third, Françoise changed tack, abandoned French studios and arrangers, and headed to London's Pye Studios. She would not record again in France until 1968, instead employing a series of British producers and musicians that even included then-studio guitarist Jimmy Page. 'It was very difficult for me to convince my record company to go to London for the production because my artistic director was having lots of success with very bad arrangements,' she says dryly. 'Since they were having success with bad arrangements, they could continue like that.' Hardy got her way and, working with arranger Charles Blackwell, a former protégé of Joe Meek, set about creating a new interpretation of her glacial, existentially yearning music: part pop, part chanson, part soul music. On one hand, she was marrying yearning melodies with lyrics examining feelings of otherness. On the other, she was interpreting the music coming from Britain and America -- both that of Phil Spector and country, too. Blackwell was the first arranger with whom Hardy was happy, and Mon Amie La Rose was the first album she thought of as more than an afterthought. 'She chose her own songs and was very in control,' says Blackwell. 'She was very much a perfectionist.' As Hardy's sound was changing, so was her life; the British were enchanted by her Parisian style and sophistication and didn't see her as the shy, sad soul that those at home painted her as. A new era was beginning, and Hardy's music was traveling further than ever."
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CD
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FDR 614CD
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"Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs -- pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents -- a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, we present the first five Françoise Hardy albums in their original French format. Raised by her mother in Paris, Hardy's upbringing was strict, and she was, she notes today, 'a very, very shy person.' Records and Radio Luxembourg provided escape and inspiration -- her two loves were Chanson Française, the Gallic style of Edith Piaf and Charles Aznavour, and rock'n'roll. The Everly Brothers, she says, were a 'lightning bolt.' Sent to The Sorbonne to study political sciences, Hardy instead pursued a career as a singer, auditioning for a number of labels before Johnny Hallyday's Disques Vogue snapped her up, intending to market her as a female rocker -- the track 'Oh Oh Chéri' here gives you a window into their vision. Hardy had other ideas and was determined to record her own songs, written in French, too. The runaway success of one of her own tracks, the iconic 'Tous Les Garçons Et Les Filles,' proved Hardy right. Hardy soon captivated the rest of the world -- she was immortalized in 1964 in a poem by Bob Dylan, she associated with The Stones, and dined with Beatles Paul McCartney and George Harrison. She also soon gained more creative control over her music, and she now distances herself from these early recordings where this was not the case. 'Even if I had been able to say something about the production,' she says now, 'maybe I would have been listened to, but I didn't know anything.' In the album's title track, Hardy sang about being a soul in torment, and this is the Hardy that emerged -- a complicated, pensive outsider, part pop singer, part chanteuse, and utterly unique. And she will forever personify a particularly French brand of cool.Includes exclusive interview with Françoise Hardy and liner notes by Kieron Tyler."
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LP
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ACV 2050LP
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2015 repress. A seminal album of the French yé-yé era, Françoise Hardy's self-titled 1962 full-length debut, released in the U.S. as The "Yeh-Yeh" Girl from Paris! in 1966, appeared shortly after her 1962 debut single Oh Oh Chéri/J'suis D'accord. The success of this album, along with its hit "Tous les Garçons et les Filles," made the 18-year-old French bombshell a huge star in Europe and an icon of the French fashion and music industries. Along with other yé-yé girls of the '60s like Jane Birkin, Brigitte Bardot, France Gall, and Sylvie Vartan, Hardy exuded a kind of sexy innocence that made French women the most liberated and the most desired in the world. On 140 gram audiophile clear vinyl; limited numbered edition of 500.
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PIC. DISC
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DOP 8001LP
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Picture disc format. A seminal album of the French ye-ye era, Françoise Hardy's self-titled debut (known in the U.S. as The "Yeh-Yeh" Girl From Paris) was released shortly after her debut single "Oh Oh Chéri" in 1962. The success of this album, along with its hit "Tous Les Garcons Et Les Filles," made the eighteen-year-old French bombshell a huge star in Europe and an icon of the French fashion and music industries. Along with other ye-ye girls of the '60s, like Jane Birkin, Brigitte Bardot, France Gall, and Sylvie Vartan, Hardy exuded a kind of sexy innocence that made French women the most liberated and the most desired in the world.
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PIC. DISC
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DOP 8002LP
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Picture disc format. This is the second studio album from the French popular singer, Françoise Hardy. Like many of Hardy's earlier albums, it was released in 1963 with no title, except for her name on the cover. In the UK the album was released as Françoise Hardy - In Vogue.
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PIC. DISC
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DOP 8003LP
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Picture disc format. Françoise Hardy canta per Voi in Italiano (1963): an album issued shortly after the debut with some of its songs and additional numbers re-recorded in Italian. While the original album is a classic of French pop, '60s AM magic, and of course, a forerunner of the yeh-yeh (aka yé-yé) sound, the additional tracks in Italian are a sweet counterpart.
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LP
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ACV 2020LP
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After growing up in the 9th arrondissement of Paris, daughter of an unmarried mother, and receiving a guitar on her 16th birthday as a reward for passing her baccalauréat, Françoise Hardy answered a newspaper advertisement looking for young singers. She signed her first contract with the record label Vogue in November 1961. In April of 1962, shortly after finishing school, her first record Oh Oh Chéri appeared, written by Johnny Hallyday's writing duo. Her own flip-side of the record, "Tous les garçons et les filles" became a success, riding the wave of yé-yé music in France, with two million sales. Françoise Hardy canta per voi in italiano was an album issued shortly after her debut with some of its songs and additional numbers re-recorded in Italian. While the original album is a classic of French pop, '60s AM magic, and of course, a forerunner of the yeh-yeh (aka yé-yé) sound, the additional tracks in Italian are a sweet counterpart. Numbered second edition of 1000 copies pressed on Audiophile Clear Vinyl (ACV).
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