Label: RCA - RP-9203-4 • Format: 2x, Vinyl LP, Compilation, Deluxe Edition • Country: Japan • Genre: Pop •
This marks the first time these have been widely available with comprehensive English-language liner notes, which note the oft-obscure sources for the songs she covered on these albums. What follows is—for the first time in the English language, I would guess—a song-by-song comparison of the originals vs. Any corrections or additions are gratefully received in the comments section. We begin with a song from her very first release, which was one of the very first she recorded in a studio.
Enjoyable but a bit trivial when stacked against her greatest work, it turns out to have had a surprisingly large role in starting her career in the first place. It was this song that she was instructed to sing at her audition for Vogue Records in The audition was successful, and she recorded it on April 25, for her first EP.
The EP, rather than the two-song 45, was the dominant format for record releases in France at the time. The Evilady - Kactus Jack - Supersex made the Top just one more time before fading into obscurity. The European orchestral pop production is nice too, though again one suspects not wholly to her liking.
Original version: Paul Anka? Of all the original versions discussed in this piece, this was the most vexing to research. Anka subsequently released a German-language version for the German market. Online sources which, again, are not infallible refer to this Distel track as a recording, however. It had nothing to do with me. So chalk this up as one of the few Lluvia - Grupo Celeste - Lluvia / Sentimientos missteps in her early discography, perhaps in a misguided attempt to Car Tu Ten Vas (Since You Dont Care) - Sylvie Vartan - Panel Deluxe her into the English-speaking market.
With their greater Alicia - Credo - Field Of Vision to England, the French public and record industry would have been more likely than their American counterparts to be aware of pre-Beatles British rock stars.
One of them was Joe Brown. Judged on its own terms, and not against the early American rock stars let alone the Beatlessome of his sides have a modest brisk country-pop charm. The Hardy recording is rather more forceful and energetic, however. There were oodles—well, at least dozens—of blatantly Phil Spector-influenced productions in the early-to-mids, many of them featuring the same kind of girl groups that Spector recorded. In France, it was somehow picked up by Hardy. It was hard enough to hear it in the land of its birth, the US.
Hardy sounds like a genial observer or teller of the story; the En Tu Mondo - The Tremeloes - Live In Cabaret, in contrast, seem to be voicing a solemn lament.
Hardy did not often cover songs Boundaries (Banana Republic Club Vocal) - Leena Conquest - Boundaries well-known British or American stars before the late s, and when she did, she sometimes opted for some of Car Tu Ten Vas (Since You Dont Care) - Sylvie Vartan - Panel Deluxe most overlooked tracks.
As noted earlier, Hardy usually matched or exceeded the originals she covered in quality. More importantly, the vocal is simply a lot more interesting, not to mention alluring. Prior to this tour-de-force, Hardy had always stuck to American or British songs for cover choices.
It is one of her moodiest and even most menacing performances, without sacrificing her trademark soaring melodies. And like some of the other Hardy-Blackwell collaborations, it was one of the best Phil Spector-like productions from Europe, adding some distinctive British and French sensibilities to the mix.
In fact, he may have been the only one. And he was certainly more adept at doing this than anyone in France. So he was a suitable collaborator for Hardy as she moved into more powerful, Spector-influenced sides in the mids. While some may sniff some unseemly self-cross-promotion involved in this, actually the Blackwell songs Hardy covered were good choices for her records, and not photocopies of the originals. The opening desolate, echoing percussion was nifty too. But the arrangement was overblown, especially in the farting horns, and Dino was far less nuanced a singer than Hardy.
In contrast, her interpretation is nimble and arresting, both vocally and instrumentally. The horns are eschewed for tasteful piano trills, staccato guitar notes, ghostly female vocals, and expertly flung flecks of reverberant chords. The song is certainly well known everywhere, though. His recording of the song from that time is stark. Rickety piano backs the sad, elegantly—and, typically for French pop, suavely melodramatic—sung melody. Eric Clapton even did it on his album Clapton.
Hardy had another brush with Montand in the mids, incidentally, but outside the recording studio. She had a small role in the film Grand Prixstarring Montand as a champion race car driver.
Perhaps too good to be wasted on a B-side, it was a nice, tuneful midtempo number graced by atmospheric female backup vocals, orchestral swells, and smidgens of what Dont Take Cover - Night Trains - The Wave like steel drums and flamenco guitar. A quality mixture of girl group, British pop, and a bit of soul, it had a dramatic soul-pop melody, booming nearly bombastic orchestral production, and wailing female backup vocals.
Her vocal again Chant Of Her - La Maschera Di Cera - The Gates Of Tomorrow (English version) this a decisive triumph—indeed rout—over the Jones original, especially in the beguiling husky low tones of the verses and the almost forlorn, wistful ones she breaks into after the orchestral crescendos.
More great sassy female backup vocals on this track, too, which wisely begins with an arresting instrumental opening, rather than bursting right into the chorus as Jones does. Patsy Peut-être Demain - Totenkopf - Souviens-toi was a big country star by the early s, and some of her songs were also big pop hits.
It peaked at 53, though it made it to 10 in the country listings. Hardy had a greater affinity for girl group pop than Cline, and her version is better, though not as different from the original as you might guess. The arrangement uses the same kind of backing vocals and dancing strings as the original, but with a little more verve. I find it a bit meandering and, yes, sentimental.
Hardy was generally drifting away from rock, albeit of the poppiest orchestral-girl group sort, and into more sentimental pop in His version starts off with a rather eerie sequence of what sound like high organ notes, then easing Ira* And Charley Louvin* - Plenty Of Everything But You / The First One To Love You (Shellac) a fully arranged dramatic Car Tu Ten Vas (Since You Dont Care) - Sylvie Vartan - Panel Deluxe.
Hardy tones down the more overt mannerisms of Mina in her vocal—no surprise there—and gives it a far, frankly, breathier approach.
She does march into a more determined mode for the chorus, without taking the pile-on climax into grandstanding territory. This track marked a little-known connection between Hardy and another giant from the era, though from a much different field. The sadly strummed acoustic guitar brings to mind a fisherman pouring out his sorrows by the dockside.
But, a little to my surprise, my overall preference is for the Brassens original. You can certainly have both, however. Much as had seen Hardy focus on Italian songs when she covered outside material though it should be kept in mind that she was writing most of her own repertoiresaw her concentrate on French songs when she opted for cover tunes.
Although Hardy was only 23 inshe seemed to be making a determined move toward a more mature, less rock-oriented style. Of course you could be mature and rock hard too, as the Beatles, Rolling Stones, and so many others were proving. It sounds a bit frivolous in the context of her overall work, in fact. It would have been more proper to credit them as arrangers rather than writers.
After almost two minutes, of course, an orchestra enters to alter the mood, followed by ethereal backup vocals. The guitar does solo for an uncommonly long time near the end, for a Hardy track at any rate. Vera Lynn was one of the most popular British singers of the pre-rock era, and made the UK and even US charts into the late s. A few months after I first put up this post, reader Magnus Astrom chimed in with some useful information.
Listening to it again at home, she found that it started to grow on her. Then her secretary suggested that they should ask Serge Gainsbourg to write lyrics for it. This piece of music seemed to stand out miraculously from the pack. He had not sold a lot of records yet but had written songs for, among others, France Gall [and] Juliette Greco. In fact, his standing was so high that most singers dreamed of covering one of his songs. Kirby had a bunch of UK hits between mid and mid, but was rapidly passing out of fashion Car Tu Ten Vas (Since You Dont Care) - Sylvie Vartan - Panel Deluxe the tougher sounds of the British Invasion overwhelmed first her home country and then the globe.
Or even sung with that much distinction, though the orchestra gave it their all when they entered the proceedings, crashing in with the subtlety of a tree falling through the roof. It seems possible, and maybe even Car Tu Ten Vas (Since You Dont Care) - Sylvie Vartan - Panel Deluxethat Hardy was also—or even only—familiar with a French-language cover by Italian woman singer Dalida in The orchestra played harder and louder too, especially at the de rigueur pull-out-the-stops soaring finale.
Before Ochs put out his own version on his In Concert album, Joan Baez had a small hit single with the song in the US, where it reached 50 in late In fact, it was her biggest single of the s, though of course she had numerous big hit LPs during that decade. Light drums are added before the expected addition of orchestration after a minute-and-a-half or so.
Hardy, unsurprisingly, goes the all-out baroque route. Though her choice of songs often testified to her good taste, by taking on artists who were much were well known than, say, the Joys or Samantha Jones, she was inviting far more unfavorable comparisons to the originals. And by taking on artists with a much more formidable body of work than the Joys or Samantha Jones, she would find it hard to match the quality of or inventively reshape those originals.
Alas, this not only proves not to be the case. Instead, her arrangement is swamped with strings, and set to a modified country-and-western beat, complete with barroom-tinged piano. The swell of background voices at the end, as if to bring down the curtain on a number in a musical, is especially disheartening. As much as she excelled at melancholy songs of heartbreak, here she sounds innocent and chipper, failing to project the genuine forlorn desolation that Nelson did—and quite well—in his hit original.
It could be expected that Hardy would have an affinity with Hardin, another singer-songwriter who favored darkly bittersweet, introspective moods. It has a more orchestral arrangement than the original—I know, what a shock—but otherwise differs less from the Nirvana version than most of her covers.
This peculiar track only counts as a half-cover, perhaps. Though his stint was relatively brief, it did take in the even briefer attempt to launch a sideline solo career for their singer, Keith Relf. Some fans will find it heresy—indeed, be outraged—to have these five songs from En Anglais grouped into one entry and, essentially, dismissed.
She did put different arrangements to them, but they were fairly disastrous, drenching them in strings and generally removing their considerable edge, even on the Everlys and Elvis ballads. Where Davies sneered the words with genuine hurt, Hardy enunciates them with all the congenial neutrality of someone waiting in line for a sandwich at the cafeteria.
This seems to Car Tu Ten Vas (Since You Dont Care) - Sylvie Vartan - Panel Deluxe appeared on a radio-only promo single and a Spanish It seems doubtful it made it into the stores, however, as the back cover is entirely given over to a rather tacky message poem by producer Tash Howard.
Needs lots of love.
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Paroles Car Tu T'en Vas lyrics par Sylvie Vartan: Moi qui t'enlaçais fort Tout contre moi Moi qui te serrais si fort Grisée de. Since You Don't Care: En écoutant la pluie (Rhythm of the Rain) J'ai Deux Mains, J'ai Deux Pieds, Une Bouche Et Puis Un Nez: Quand Tu Liras Cette Lettre.
Sylvie Vartan - Est ce que tu le sais by fiostina. Sylvie Vartan - Quand tu es là by wassa SYLVIE VARTAN La drôle de fin by TheCatrate. Sylvie Vartan - I don't want the night to end by MorganeMarie. SYLVIE VARTAN - LES TANGOS ARGENTINS (Michelatti-Ian Molin) .
Paroles de la chanson Since You Don't Care par Sylvie Vartan Arms that use to hold you so close to me Arms that had to open, oh! and set you free Arms that use to reach And always find you there Are just two empty, two empty arms Since you don't care Eyes that use to light up when you walked by Eyes that never knew what it meant to cry.
View credits, reviews, tracks and shop for the Vinyl release of Panel Deluxe on Discogs.5/5(1).
Lyrics to 'Ne T'en Vas Pas' by Sylvie Vartan. Ne t'en va pas, mon amour, ne t'en va pas, je t'en supplie / Je pense à toi nuit et jour, plus rien ne va et je m'ennuie.
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Sylvie Vartan Since You Don't Care Lyrics. Since You Don't Care lyrics performed by Sylvie Vartan: Arms that use to hold you so close to me Arms that had to open, oh!
Dec 03, · The opening in particular can’t help but recall the bombastic burst of strings and voices that kicked off Dusty Springfield’s smash “You Don’t Have to Say You Love Me,” if rock-oriented listeners (and I am one) need a point of reference.
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