French teenager Françoise Hardy scored a big hit in her homeland in 1962 with the melancholy “Tous les Garcons et les Filles,” a gentle revision of Paul Anka’s 1957 smash “Diana,” going on to become an international pop superstar. Although this charismatic singer would forge a remarkable career highlighted by dozens of standout albums, the U.S. has remained largely indifferent to her considerable charms. (Bob Dylan, however, was an early admirer, dedicating a poem to her on the back cover of his 1964 album Another Side of Bob Dylan.)
A decade ago, U.S. reissues of five early albums did little to raise Hardy’s profile in the States. Now, the peerless archival label Omnivore is taking another crack at spreading the word about this great artist, putting out new editions of the same five albums on CD and vinyl, and doing much more. Currently available, Tous les Garcons et les Filles, Le Premier Bonheur du Jour, Mon Amie la Rose, L’Amitié and La Maison où J’ai Grandi all come with bonus tracks, including live performances; In Deutschland and Canta per Voi in Italiano will be out in December. All are worth a listen.
It can be challenging to get a handle on Hardy’s music, because she was constantly evolving, up to her final album, 2018’s Personne d’Autre. Incorrectly described upon on her ascendance as one of the yé-yé girls of French pop, referring to the lively, frivolous style that looked to the latest chart trends in the U.S. and U.K., she drew on everything from modern sounds to traditional folk to classic Gallic balladeers such as Charles Aznavour and Jacques Brel, writing much of her own material. Even during the span covered by these newly reissued titles (1962-1967) Hardy quickly underwent significant change, shedding her callow aura and adding more complex elements to her sound.
Curious listeners who want a quick survey can check out the 24-track en vogue best of 1962-1967. Those seeking a much deeper dive can try the 14-disc vinyl collection Françoise Hardy Blues, offering all the albums mentioned above and plenty more, plus a DVD of TV performances.
In a better world, Omnivore would go on to release Hardy’s later albums, many the equal of her dazzling early work. In any case, this is a great start.
