Much like Gainsbourg, he envisions pop songs less as monologues and more as dialogues between men and women.
is heavy on duets, and while there's no Nancy here, there is Ann-Margret, still so full of blustery femininity on "Sleep in the Grass"; Nina Lizell, embodying European mystique on "Leather and Lace"; and Suzi Jane Hokom, barely distinguishing herself on "Nobody Like You".
No fall out, good color payoff, smooth application.
With his eerie baritone and ear for trippily reverbed vocals, he mingled orchestrated pop and Laurel Canyon folk, a bit like Serge Gainsbourg singing country and western or Leonard Cohen gone bubblegum.
Loreen re-released "My Heart Is Refusing Me" as her worldwide second single.
The song was considerably less successfully and charted in a handful of countries only.
After they parted ways, Hazlewood released a string of comparatively minor hits on his own LHI Records, and while he never achieved the same level of success he enjoyed with Nancy, he never lost his weirdo ambitions.
The song charted at number one in seventeen countries, including her native Sweden, Germany and Russia.
That's not necessarily a dig, especially when "Victims of the Night" evokes a surreal Golden State desert landscape and "Califia (Stone Rider)" shifts tempo into an exquisitely blissed-out coda.
A meditation on lost love that verges on the suicidal, "The Bed" proves he could write a sadsack country song with the best of them, and he could invest a line like "I've learned to pay the paperboy on time" with immense melancholy.
The single also charted top 3 in the United Kingdom and Spain.
The song also received success outside of Europe; it charted in Australia and Japan.
He was never quite as overtly sexual as his French contemporary nor as overtly Biblical as his Canadian peer, but possessed an equally singular vision of pop music, which, 40 years after his heyday, makes his songs immediately distinctive and identifiable.