EVEN IN THE QUIETEST MOMENTS ...

1. Give A Little Bit ouh yeah; acoustic guitar, here we go, a simple tune, a measured riff and a sax, important at the time, that of John; a pop song to be played on the radio, ouch the easy criticism that we gave to SUPERTRAMP; prog no but pop crossover to annoy for the finale which suits well, dididing 2. Lover Boy for this perfectly Anglican intro, simple, piano... ah the choir and Bob's symphonic drums, clear, which cleans the speakers, a good memory; this latent piano with layers of keyboards and Rick who orchestrates, a famous voice play, a beautiful composition, ah a start of a guitar solo which is amazing, yes I have often loved these solos, harder than in many metal groups; a solo that drags on, tortures itself, languidly, one of the many trademarks; 4 minutes and then it's over; almost a minute before the symphonic, stratospheric, purely supertrampist reprise; yes the prog has indeed remained here with this convoluted title as it should, allowing only the substantive progressive marrow to pass through, in short 3. Even In The Quietest Moment for the eponymous title with its marker birds, the acoustic guitar which comes from elsewhere, which swells, this warm clarinet which swells; Come on, Roger puts a little enthusiasm into it and the pad follows him; title which is worth by this latent rise with the belched voice, I who do not like voices there I am captivated; the sounds vibrating behind and off we go for a second progressive crescendo, slow but sure evolution, it swirls everywhere, the sound is clear, the horn thrums; final on the intro to settle down 4. Downstream for the love song of the album, the weak link, because the piano is too present, the voice too much I hear only you; a jazzy bar suite that can please a pianist in need of solitude; bombastic classic pop rock art.

5. Babaji reassures me, direct vocal but latent entry, suggesting an evolution in this title, to believe that I prefer Roger to Rick; that's it, it's started, I wasn't wrong, babiji I hear you, babiji the piano can be beautiful, catchy, festive and progressive when it is used well; ponponpom ah how I love this sound, this typical orchestration, simple at first glance but deliciously constructed; here John gives you a blow and the choirs of the two guests who launch into a simple verbal battle here 6. From Now On oh piano maestro and let it roll; latency, effusion and explosion or how to construct a simple but devilishly orchestrated title... go sax of course and... this fat sound which rocks you suddenly, drum roll ah well done, yes it's my weak point I love Bob; the sax will chat with Rick for a languid finale; the chorus that follows like the end of an album that went by very quickly 7. Fool's Overture ... ah there was one title left, let's see, finally let's listen, listen; yes piano in classical arpeggio, yes good; latent ah perhaps something even better, who knows, this soaring side would only be missing an orchestration with sounds of war, see a call from a minister, in short I believe in it, a trumpet to warn, a Big Well, wow, I don't really believe Churchill; oh there the synth, clear, short, the screams, the ambulance, I'm waiting for your tom... you had to dare at the time to launch into this remarkable, perfect intro; a 5 just for that I can't do otherwise; progressive dreamlike, symphonic rise, put into trance, nowadays we would say put into PLS; come on drums, the instruments pile up for the most beautiful 5 minutes of introduction to a title; solemn tone of a potential military anthem about a cruel war, Roger who enhances his voice for the most minimalist verse possible, for the most sophisticated chorus possible, I know; well-placed sax before the finale; well a little wind we get dressed and we go; the wind, the choirs in the distance no dreamer that's what I hear no it starts again? Immense I tell you; the title that I replayed so often at the beginning that my sheets still remember it; Come on, let's adjust our instruments... no, that's the real end.