Francoise Hardy is mostly known as a pop chanteuse with mild rock influences. It comes as something of a shock, then, to stick this into the CD player and hear her backed by assertive, guitar-oriented modern rock arrangements. Hardy’s delivery hasn’t changed much; it’s still a mixture of fetching sensuality and composed reserve. What has changed is the music, with its emphasis upon gutsy guitar textures that sound influenced by ’90s alternative rock–a bit of grungetone here, some Brit-pop energy there, some rootsy slide work (on “Ici Ou La?”) in the mold of Ry Cooder. Many middle-aged pop singers move from gritty rock to lighthearted MOR. Hardy, unusually, seems determined to move in exactly the opposite direction. It’s not as good as, or very similar to, the charming sentimental pop of her youth. Yet it’s not at all embarrassing, with a couple of tunes (“Dix Heures En Ete” and “Contre-Jour”) that would have definite hit potential, in the best sense of the word, were they sung in English. Whatever you think, one would be hard-pressed to name other rock singers in their early fifties, from France or anywhere else, that managed to sound unassumingly contemporary in the mid-’90s. (by Richie Unterberger)
The young Françoise Hardy in the Sixties
Françoise Hardy’s 1996 album “Le danger” could be one of her best. Its overall feel is a mix of rock, blues, and pop. The band is excellent, the arrangements are superb, and above all, FH’s poetic lyrics are moving and thought-provoking. The album’s sound is varied without losing consistency, the tunes ranging from rocking to slow. “Le danger” is a smart album that is by turns sad, joyful, droll, and moving. Françoise Hardy’s taste is always impeccable, and it is no wonder that such icons as Bob Dylan and the Stones respected her talent (many of the sounds on “Le danger” almost seem to prefigure Dylan’s latest masterpiece, “Love and Theft”).
There are no losers on this disc, but highlights include the album’s opener, “Mode d’emploi”, a rocking tune with a catchy guitar hook and chorus. Track 2, “Les Madeleines,” is also a winner with wonderful orchestration and even a line in English (in Françoise’s charming accent). Perhaps the best track on the album is “Un peu d’eau”, an atmospheric tune that also happens to be one of FH’s favorite compositions. “L’obscur objet” and the optimistic “Tout va bien” are standouts as well.
Extensive knowledge of French is not needed to enjoy these tunes. Françoise Hardy’s voice sounds better than it ever has. (by an amazon customer)
Personnel:
François Bodin (guitar, slide guitar)
Rodolphe Burger (guitar)
Jean-Noël Chaleat (piano)
Françoise Hardy (vocals, guitar)
Volker Janssen (piano)
Alain Lubrano (guitar, slide guitar)
Sylvain Luc (guitar)
Pascal Mulot (bass)
Vincent Pierins (bass)
Dave Ruffy (drums)
Doudou Wiess (drums)
Tracklist:
01. Mode d’Emploi (Hardy/Lubrano) 3.49
02. Les Madeleines (Hardy/Lubrano) 3.58
03. La Beauté du Diable (Burger/Hardy) 3.52
04. L’ Obscur Objet (Hardy/Lubrano) 3.51
05. Un Peu d’Eau (Chaleat/Hardy) 4.36
06. Zero Partout (Hardy/Lubrano) 4,10
07. Le Danger (Hardy/Lubrano) 3.32
08. Dix Heures en Été (Burger/Hardy) 4.04
09. Tout Va Bien (Hardy/Lubrano) 4.02
10. Contre-Jour (Burger/Hardy) 3.40
11. Ici Ou Lá? (Hardy/Lubrano) 4.10
12. Á Sa Merci (Hardy/Lubrano) 3.50
13. Regarde-Toi (Chaleat/Hardy) 1.56