Fontaine's first two albums, now reissued by San Francisco-based Superior Viaduct (a recently-launced, primarily punk/leftfield archival imprint whose catalogue is getting stronger by the year), successfully put the various sides of this strange songstress on display, the beginnings of a career that would flourish well into the '70s and beyond (most notably the ensuing/ongoing collaborations with percussionist/co-vocalist Areski).
"On Est…Folle, Fontaine takes flight over conductor Jean Claude Vannier's brilliant arrangements. Vannier, best known for his work on Serge Gainsbourg's Histoire De Melody Nelson, is in fine form, using what would become his trademark stylings: lush strings, taut rhythms culled from across the globe and a healthy dose of whimsy.
While her debut was a unique take on French chanson, [on Comme À La Radio] the Art Ensemble Of Chicago provides the perfect setting for Fontaine's exploration of free-verse poetry. Often arrhythmic and spoken, her vocals command the same spontaneity and grace that her collaborators applied to their instruments. The overall effect is chilling, and it is no surprise that Comme À la Radio is often cited as Fontaine's best known work." - Superior Viaduct