Think of French chanteuse Françoise Hardy as her country’s answer to England’s Marianne Faithfull. Like Faithfull, Hardy, who died last year, possessed an alluring, angelic voice and had a penchant for moody pop/rock songs. She also had a visual presence and sense of style that turned heads. Mick Jagger, Faithfull’s boyfriend in the late 1960s, once called Hardy his “ideal woman.”

Although she often sang in English and sometimes recorded material from American songwriters during her more than half-century-long career, Hardy never enjoyed stateside success comparable to Faithfull’s. In fact, she didn’t break into Billboard’s charts with any of her 45s or albums. She was popular throughout Europe, however, and a sensation in her native country, where she scored 11 Top 10 singles, nine Top 10 LPs, and numerous lesser hits.

Folks in the U.S. now have a chance to hear some of what they’ve missed, thanks to a slew of reissues. They include three compilations as well as five of Hardy’s earliest albums, which have been remastered, enhanced with bonus tracks, and remixed in stereo.

Here’s what’s being offered in these so-called Legacy Editions:

Tous les Garcons et les Filles (1962). Hardy made this chart-topping debut album when she was just 18. Dominated by material co-written by the singer, the CD also features a number by American rockabilly singer Bobby Lee Trammell—an early sign of Hardy’s eclecticism. The title cut and “C’est À L’amour Auquel Je Pense” were both No. 1 singles in France. Bonus tracks include concert performances of five of the original album’s songs.

Le Premier Bonheur Du Jour (1963). This engaging sophomore release, which benefits from sophisticated arrangements, finds Hardy again writing or co-writing all the material. The performances—particularly the ballads, such as “Saurai-Je?”—are consistently seductive. Five bonus tracks include two singles that made France’s Top 10 list.

Mon Amie La Rose (1964). Hardy wrote or co-wrote most of the material on this LP, including two that reached the Top 5 in France: the poppy “Je Veux Qu’il Revienne (Only You Can Do It)” and “Pourtant Tu M’aimes (I Still Love Him),” which sounds redolent of contemporaneous American “girl groups.” The excellent arrangements are by Charles Blackwell, a former associate of famed British producer Joe Meek. The album’s “Pas Gentille” is a fine French-language cover of Marty Wilde’s “Bad Boy,” a 1959 UK hit that Meek produced. Ten bonus tracks include three concert recordings and a song Hardy co-wrote with Dusty Springfield.

L’amitié (1965). Working again with Blackwell, Hardy delivers another fine set of largely self-penned numbers. Among the standouts are such ballads as “Dans Le Monde Entier” and upbeat pop/rockers like “Ce Petit Coeur.” Six bonus selections include a live reading of the title track.

La Maison Où J’ai Grandi (1966). Sublime ballads such as “Rendez-Vous D’automne” and “Mes Jours S’en Vont” highlight this LP, whose title cut was a Top 10 hit in Hardy’s country. The instrumentation, which employs baroque elements, recalls some of what Faithfull delivered around the same time. There are six bonus tracks, one of which is a live recording.

Françoise Hardy in Deutschland and Françoise Hardy Canta per Voi in Italiano. Sprechen sie Deutsch or parli Italiano? If so—or if you just want more from Hardy—consider these compilations, which offer the songs she recorded in those languages between 1963 and 1967. The German set features 14 tracks, five of which were Top 40 hits, while the Italian collection offers 22 selections, among them six bestsellers.

Françoise Hardy En Vogue (Best Of 1962-1967). If the above albums seem like too much for you or your wallet, you can opt for this anthology, which collects 22 of their best tracks and adds two self-penned numbers from 1967, including “Voila,” a Top 10 hit in France.

Also Noteworthy

Bill Scorzari, Sidereal Days (Day 1). This is the fifth and best album to date from New York–based Bill Scorzari, whose first four releases were all terrific. Co-produced by the omnipresent Neilson Hubbard, who has played key roles in the making of several of the artist’s previous CDs, the set features 10 self-penned, lyrically rich songs. Some limn broken hearts and dreams, while others tell of answered prayers and transcendent love.

Scorzari plays piano and acoustic, baritone, and electric guitars, but his most arresting instrument is his voice. Granted, some listeners might be turned off by his gruff delivery, which can almost make Dave Van Ronk sound like Frank Sinatra by comparison. To these ears, though, Scorzari’s vocals convey authenticity and emotion. They also perfectly complement his gentle melodies and an instrumental mix that emphasizes cello and violin while also incorporating mandolin, pedal steel, dobro, and more.

After hearing this album, lots of people will be cheering the news that it represents just the first half of a two-part series. Scorzari plans to release Sidereal Days (Day 2) in early 2026.

Rosy Nolan, Main Attraction. The press bio of Los Angeles–based country singer Rosy Nolan mentions influences ranging from punk to Lucinda Williams, and this well-produced, mostly self-penned album also finds her incorporating elements of Western swing, honky-tonk, and folk.

Highlights abound, starting with the lead-off track, “Dead on the Vine,” on which Nolan comes across as a modern-day Patsy Cline, and the violin-spiced “Coming to See You,” where the singer’s quavering vocals recall Dolly Parton. Also excellent are two numbers that benefit from the accordion work of Cajun music master Dirk Powell: “Don’t Put Her Down You Helped Put Her There,” by bluegrass pioneer Hazel Dickens, and the bright, upbeat “How It Feels to Fall in Love,” which Nolan co-wrote with fellow L.A.-based artist Ted Russell Kamp.

Jamie Granger, True Hearted Kind. Jamie Granger’s eponymous, self-released debut album, which appeared around the beginning of this year, didn’t get the attention it deserved. So, the South Florida folk singer/songwriter is trying again, with an album on the Y&T label that combines most of the debut’s tracks with five additional numbers.

Let’s hope more people pay attention this time, because Granger’s new CD is a charmer. On standouts such as “Up to Heaven” and “French Canadian Girl,” he features warm vocals, rich melodies, and poetic vignettes that seem drawn from real life. Especially if you appreciate the work of 1960s folkies like David Blue, Tommy Flanders, and Patrick Sky, you’ll enjoy this set.