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JE SUIS LE TEMPS

Morse Code

Symphonic Prog


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Morse Code Je Suis le Temps album cover
3.32 | 25 ratings | 3 reviews | 4% 5 stars

Good, but non-essential


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Studio Album, released in 1977

Songs / Tracks Listing

1. C'est déjà du passé
2. La réalité
3. Berceuses
4. Chevaliers d'un règne
5. Picadilly Circus
6. Sommeil
7. Je suis le Temps
8. Magie de musique

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Christian Simard / keyboards and vocals
- Michel Vallée / bass and vocals
- Daniel Lemay / guitars, flute and vocals
- Raymond Roy / rums and percussion

Releases information

CD Capitol (1977)

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Buy MORSE CODE Je Suis le Temps Music


Je Suis Le TempsJe Suis Le Temps
Import
Progquebec 2007
Audio CD$21.46
$30.88 (used)
Je Suis Le Temps by Morse Code (2007-06-12)Je Suis Le Temps by Morse Code (2007-06-12)
Progquebec
Audio CD$54.57

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MORSE CODE Je Suis le Temps ratings distribution


3.32
(25 ratings)
Essential: a masterpiece of progressive rock music(4%)
4%
Excellent addition to any prog rock music collection(36%)
36%
Good, but non-essential (44%)
44%
Collectors/fans only (16%)
16%
Poor. Only for completionists (0%)
0%

MORSE CODE Je Suis le Temps reviews


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Collaborators/Experts Reviews

Review by loserboy
PROG REVIEWER
4 stars This British 70's prog inspired Québécois band from Canada released 3 gems in the mid 70's with "Le Suis Le Temps" being their 1977 release. On "Je Suis Le Temps" MORSE CODE moved away from their close musical proximity to the sound and approach of GENESIS and ANGE and shifted more to a classic rock based progressive feel. The music presented on this album take on more of a song based presentation and not the concept approach on their earlier albums. May be more fitting on this album to draw parallels to the music of BARCLAY JAMES & HARVEST, STYX and YES. Having said that this album is full of great keyboard, bass, drum and guitar workmanship. Songs are very well written and performed with great lustre and musicianship. Overall an excellent album.
Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
4 stars For this album and following Procreation's great hopes and inspiring sales, their record company Capitol allowed to send Morse Code to travel to Britain to record it and one can hear the difference, not only in the production, but in the songwriting. While the album title suggests another theme throughout the album, it is much harder to pick up at first glance. With a rainy windshield for artwork (and an old ruins on the back cover), MC was really trying to get their big break, but went soft at the moment they should have really set their differences up front, instead of trying to fit into a mould.

The singing is still in French but not quite as daringly theatrical, and the music veers of to Fruup, BJH, ATTOT Genesis. Another change is that there are no major lenghty compositions like the full-blown Procreation or La Marche Des Hommes. The lengthiest (and worthiest) track is the title-track clocks in around 7:30 but it does have a smaller number (an intro of sorts) linked to it. The rest of the songs glide on smoothly and are of the usual MC calibre/standard.

Unfortunately, one cannot help to think that the opening track was premonitory as this was to be their last album, as Capitol was to find that their expectation (sales wise) might be too ambitious and the Disco Wave was to strike Quebec like a tsunami. The '83 album was a best-forgotten reunion album. I have heard a lot of good from their '95 album.

Review by kenethlevine
SPECIAL COLLABORATOR Prog-Folk Team
2 stars If Morse Code made a splash with "La Marche Des Hommes", they bowed out rather ignominiously with "Je Suis Le Temps". Overall it is a rather undistinguished pastiche of 1970s rock with a few prog moments, some good, some less so. While first impressions are often misleading in progressive albums, this one doesn't reveal a whole lot more with repeat listens, and certainly not enough payback for the time spent.

The album opens relatively strongly with "C'est Deja Du Passe", even if the boogie-esque vocal sections are redolent of Michel Pagliaro and other contemporaries like Offenbach rather than the contemporary progressive artists. This problem plagues the work of Morse Code. The highlight is the eerie instrumental section in the break. "Berceuses" exhibits all the hallmarks of a good idea gone bad - some fits and starts, finally settling in on an overly long and uninteresting lead guitar section with which to bow out. The peak of the album is the first two tracks on side 2, the rollicking instrumental "Piccadilly Circus", inspired by the band's proximity to the locale during the recording of the album, and the spacey ballad "Sommeil". The title track is the longest and, while not bad, again suffers from facelessness and a general lack of enthusiasm.

Morse Code seems like a band that listened to a lot of British prog of their day but tried to merge it with standard rock and blues, and something, indeed most everything, was lost in transmission.

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