LUCK AND STRANGE

1. Black Cat Atmospheric intro, crystalline piano, ah the guitar, yes we have arrived at the port, that of GILMOUR; this pleasure of hearing an alkaline intro to settle down, to get in the mood; and then in prog you need an intro. 2. Luck and Strange fleeting air by SIMON & GARFUNKEL, yes well we are here to dream; the air gets going, Guy's bass surely pregnant, the voice more gravelly than before... ideal for this piece much more blues than rock; yes Gary MOORE had also returned to the rock base with age; there is softness, enthusiasm, there is PINK FLOYD 'Division Bell' whatever one says, much more than on his penultimate album, very intimate and soft on the knee; at his age the pleasure of playing guitar so divinely is priceless, he still tortures his strings and Richard is credited for the organ, a cassette found during his lifetime or not, heavy 3. The Piper's Call to go to Louisiana with this banjo; the piece that will give water to the detractors for the sound unworthy of a great artist like him; keep the side guitar in the distance, languid and the tempo that rises; small prog-type noises to maintain the hope of a devastating solo and the marshmallow piece that manages to get out of the torpor of the start; the intimate sound becomes strangely strong with this guitar leading to languid siren choirs, in short glued 4. A Single Spark returns to the sticky spleen atmosphere, the voice too neutral, the easy air... the solo even better with its armful of strings, melting violins; yes more prog but progressive spirit that comes out as soon as you press a little; the pleasure of playing your music far from big crowds, hey that reminds me of Mark KNOPFLER 5. Vita Brevis harp interlude I'll let you guess who it is, with the guitar that flows next to it

6. Between Two Points harp by Romany, then his voice for the dark cold pop wave piece, the new voice, with sensuality, monotonous air pushing helped by haunting choirs; the Gilmourian guitar solo comes after to deliver its share of notes and its share of emotions with simplicity and typicality 7. Dark and Velvet Nights goes back to the bluesy atmosphere with a fat rock that brings nothing other than the memory of looking in his old titles for the one that most resembles it; his voice then modulates accompanied by the eternal choirs, the daily lot, go guitar, go organ, go; it feels like a southern choreography on a good worn floor; the final guitar solo with a flight of violins worthy of the ELECTRIC LIGHT ORCHESTRA, the good old days 8. Sings jazzy-bluesy start, subdued atmosphere with this old-fashioned keyboard; acoustic, zither or almost, not very expressive chorus, for those who expected the rise of a 'Comfortably Numb' you will have to come back; the grand piano, the ah ah of the 10CC in the distance, admitted romanticism; the last third with the cinematic break, to think that it was PINK FLOYD who invented this word before its time; noises of children, of a boat, well, well, yes, reminiscence; the declension quite simply, effectively 9. Scattered for the slap of the album; piece that starts slowly, the predictable crescendo with the hypnotic keyboard, the one that puts the 'shudders'; grand piano yes why not on a dramaturgical variation; it's soaring, it's sticky, there's some 'Division Bell' in there again; the association of syrupy violins and acoustic guitar gives in the languorous; the guitar solo which arrives almost naturally shows that David is capable of very beautiful things with his 10 fingers, the cult solo which glues you in front of your screen, I-Pad, stereo, your window, your musical horizon; the piece which stuns and sends all the guitarists back to their studies; yes PINK FLOYD relived a few moments through this Dantesque solo; David speaks just to make us a little more addicted

Well, two bonuses just for fun; 10. Yes, I Have Ghosts with acoustic and harp, with dad GILMOUR and his daughter, a folk tune à la Loreena McKENNITT to go to medieval times, a gentle serenade without any hassle, I could see myself sailing from one island to another to taste in moderation a Mc Malt Mill 62, I digress 11. Luck and Strange (original barn jam) for the jam cover of the title, credited with the keyboard presence of the late Richard; fusion tune blues, jazzy-rock, catchy and haunting, a long long monolithic variation, to close the album. Originelly on Planète Prog.