Paroles: Serge Gainsbourg, Jack Gold, Arnold Goland
sous aucun prétexte, je ne veux
avoir de réflexes, malheureux...
il faut que tu m'expliques, un peu plus mieux
comment te dire adieu...
mon coeur de silex vite prend feu
ton coeur de pyrex résiste au feu
je suis bien perplexe, je ne veux
me résoudre aux adieux
je sais bien qu'un ex amour n'a pas de chance... ou si peu
mais pour moi une explication vaudrait mieux...
sous aucun prétexte je ne veux
devant toi surexposer mes yeux
derrière un Kleenex je saurais mieux
comment te dire adieu...
comment te dire adieu...
tu as mis à l'index
nos nuits blanches, nos matins gris-bleu
mais pour moi une explication vaudrait mieux
sous aucun prétexte, je ne veux
devant toi surexposer mes yeux
derrière un Kleenex je saurais mieux
comment te dire adieu...
comment te dire adieu...
comment te dire adieu...作者: sunny萝卜 时间: 2013-2-17 21:33
Usually thought of as a middle-of-the-road popular singer, Françoise Hardy — at the beginning of her career, at least — covered more stylistic ground and owed more debts to pop/rock than shes given credit for. Immensely popular in her native France, the chanteuse first displayed her breathy, measured vocals in the early and mid-60s. Her (mostly self-penned) recordings from that era draw from French pop traditions, lightweight 50s teen-idol rock, girl groups, and sultry jazz and blues — sometimes in the same song. The material is perhaps too unreservedly sentimental for some (in the French tradition), but the songs are invariably catchy and the production, arrangements, and near-operatic backup harmonies excellent, at times almost Spector-esque. Fans of Mariane Faithfulls mid-60s work can find something of a French equivalent here, though Hardys material was stronger and her delivery more confident.
In the 1950s, Hardy was inspired by early rock recordings to pick up guitar, and was already writing her own songs by the time she was a teenager. By the age of 17, she was already singing her own compositions in French clubs, and successfully auditioned for Vogue Records in France in late 1961. Her debut EP appeared the following year, inaugurating a series of successful EPs and albums that would last through the 60s.
Hardy sang of young love with both fetching moodiness and unrestrained ebullience; although she often wrote both her music and lyrics, she often co-wrote tunes with others as well. She was greatly aided by a number of talented arrangers who seemed to be attempting (usually successfully) to blend American and British production sophistication with a Continental European sensibility. Charles Blackwell was the most notable and effective of these figures; in 1964, interestingly, she recorded some tracks under the direction of the great American R&B guitarist Mickey Baker (yes, the same one who played on Mickey & Sylvias Love Is Strange), who was then based in France.
Starting in 1964, Hardy made periodic attempts to capture the international market with English recordings. Although these werent entirely unsuccessful (All Over the World was actually a British Top 20 hit in 1965), by the late 60s she was concentrating on more mainstream, middle-of-the-road material and arrangements on both her French and English sessions. She has remained popular in France until the present.作者: sunny萝卜 时间: 2013-2-17 21:35
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