Hardy's dreamy, languid, melancholy, angelic, elegant and
seductive 1962 debut album featured the winsome ‘Tous Les Garçons Et Les Filles’
(All the Boys and Girls), a hit single all across Europe that sold more than
two million copies.
just eighteen when she recorded this remarkable collection of (mostly) original
songs. The public were captivated by her charm, responding in part to some of
the same qualities they had found in the emerging bossa nova; a singular,
understated voice, intensity, intelligence, the simplicity and sophistication
of the songs.
original classic album is augmented by Italian versions of these and other
songs recorded under the auspices of Ezio Leoni.
In 1963 Hardy
was invited to represent Monaco at the Eurovision Song
Contest where she performed her own composition, the lovely L'amour S'en va.
She came sixth. (Nana Mouskouri and Monica Zetterlund were among the
competition and they didn't win either). She re-visited the UK singles chart in
1965 when her ‘Dans le Monde Entier’ (All Over the World) reached the Top
been described as "Liz from Billy Liar
made real”, "Garbo meets Greco” and "The
Epitome of the Modern Woman”. Bob Dylan dedicated a poem to her (At the
"I was for a very long time passionately in love
with her, as I'm sure
she's guessed. Every male in the world,
and a number of females also were, and we all still are" David
"She was the ultimate pin-up of most hip, Chelsea,
beat bedroom walls, and I know for a fact, many of the groups who were notorious
and slowly becoming successful, such as the Rolling Stones, Brian Jones and
Mick Jagger, the Beatles, John Lennon,
Paul McCartney, and many other groups were all desperately interested in having
Françoise Hardy become their girlfriend in some way.” Malcolm McLaren
Release Date: 7/1/2013
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LES GARÇONS ET LES FILLES (ALL THE BOYS AND GIRLS)
FILLE AVEC TOI
TEMPS DE L'AMOUR
EST TOUT POUR MOI
JETÉ MON CŒUR
10. IL EST PARTI UN JOUR
11. J'SUIS D'ACCORD
12. C'EST A L'AMOUR AUQUEL JE PENSE
FRANÇOISE HARDY CANTA
PER VOI IN ITALIANO
13. L'ETA DELL'AMORE (LE TEMPS DE L'AMOUR)
14. IL TUO MIGLIORE AMICO (TON MEILLEUR
15. E ALL'AMORE CHE PENSO (C'EST A L'AMOUR
AUQUEL JE PENSE)
16. UNA RAGAZZA COME LE ALTRE (COMME TANT
17. QUELLI DELLA MIA ETA (TOUS LES GARÇONS
ET LES FILLES)
18. L'AMORE VA (L'AMOUR S'EN VA)
19. CI STO (J'SUIS D'ACCORD)
20. PER TANTO TEMPO (BIEN LONGTEMPS)
21. OH OH CHERI
22. IO VORREI (CAPIRTI) (SAURI-JE)
Morricone Kill - Spaghetti Western
In composing the scores for the Spaghetti Westerns of Sergio Leone with their sparse arrangements, eerie tunes and unorthodox instrumentation (bells, church organs, harmonicas, slashing Spanish & electric guitars), Ennio Morricone at once revolutionised film music and from as far away as his base in Rome made the American western his own.
Morricone's theme for 'The Good The Bad & The Ugly' is arguably the most famous piece of music ever recorded for film. Director and composer are inseparable; the coordination of action and music such as to prompt some scholars to compare Leone's films to opera; images and sounds that are rich, solemn and often startling.
On 'Morricone Kill' the achingly beautiful melodies for Leone's 'A Fistful Of Dynamite' establish the magical Morricone atmosphere; the programme comprising three beautiful cuts from this film along with selections from lesser known westerns all of which are charged with extraordinary music.
Sergio Sollima's 'Resta Dei Conti (The Big Gundown)' is generally considered to be the finest spaghetti western not directed by Leone and stars the splendid Lee Van Cleef; Van Cleef emerging from retirement to become (along with Clint Eastwood) the leading name of the genre and one of the ten biggest box office draws in Europe.
Joseph Cotton stars in Sergio Corbucci's 'I Crudeli'. Franco Nero and Jack Palance in both ‘Il Mercenario' and 'Vamos' a Matar Companeros' and the immense Orson Welles is colonel cooscorro, the chief of police, in 'Tepepa' (Blood and Guns).
James Coburn and Rod Steiger combine famously in 'A Fistful Of Dynamite' and Henry Fonda, who years earlier had starred in the prodigious 'once upon a time in the west', returns to the genre for 'My Name Is Nobody' Sergio Leone's biographer Prof. Christopher Frayling's quotation about the stereo effect of the spaghetti western perfectly captures the mood, "one speaker is a fairy story, the other, brutal and nasty. A fabulous combination"
L'arena from Il Mercenario also featured in part two of Quentin Tarantino's 'Kill Bill'
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