EYES OF THE UNIVERSE

1. Love On The Line extra-terrestrial intro, which comes from the wormhole of the cover...and a conventional tune, ah too bad yes well they were starting to be exhausted since their debut; voices that of Les here which will explain their separation... too; in short a good aerial entry and a guitar solo from John bordering on bluesy funky which melts, the synth from Kevin, a good studio musician who loves old sounds (Moog and Hammond) doing better than to defend himself; the most this solo which never ends and which pleasantly fills 2. Alright Down Get Boogie with John on vocals for the unstoppable fresh, fruity, heady tune and this riff which could be heavy if it weren't for the delicacy; a nugget that moves away from melodic prog; one of the tracks that I can listen to non-stop even though there's not much extraordinary in it, a prog paradox, well it ends the way I don't like 3. The Song (They Love To Sing) fortunately fits together this song with its majestic intro, still spatial and grandiloquent; between electronics like TANGERINE DREAM from the 80s, with tuba from Peru, with Les who enchants with his calm voice, yes I have a slight preference for him whatever people say; the soaring air, I said, also heavy, the chorus surrounded by layers of synths, we feel placed on an ethereal cloud; the keyboards resume, the castanets also for a slow monolithic descent which maintains majesty and dignity, BJH was also simply that! 4. Skin Flicks yes VANGELIS you recognized too, well from afar but still; hop the verse... cut short with and the most comes from these percussions punctuated by the bass, dong dong dong yes far from the dinos with their piles of convoluted notes; well there's a bit of a trap... yes a bit of WHO there, you have to find something... that's what prog is, a cut, something you don't expect; the djembe add the South American atmosphere, you dance but it's prog it doesn't fô... ah la la we won't change those who criticized this group during the 70s; well a title that is worth its weight musically speaking and minimally speaking! Don't forget the final solo, always very fresh and sharp. 5. Sperratus side B, don't forget, a solo that starts out almost spleen, with morbid beauty; a defeatist voice at the highest level to deepen the dark atmosphere... ah a saving chorus, they got us, a title where hope is not far away in the end with a guitar still very high; the symphonic finale as one imagines with still this spurt of guitar solo, perhaps a little too late, but wasn't that precisely their trademark? 6. Rock 'N' Roll Lady for the BEATLES or the ROLLING STONES at the start; a de facto rock'n'roll air that draws on simple rock-pop artists, without a progressive drift; well one of the 2 which should have stopped me from giving a 5 I understand (but I will keep the souvenir point as well!) 7. Capricorn and his starting arpeggio guitar, on a TRUST, have a good laugh; a slow, predictable climb; the chorus more pompous than it seems and the riff always sharp and energetic, well-positioned which snatches the title; too bad there are no more breaks and other convolutions like in previous albums. 8. Play To The World with the neo-classical intro, magnetic violin worthy of a JMJ; the piano clap setting the tone, the calm guitar solo adds, the voice itou; everything is done to melt, to languish even this keyboard which takes me back to the 10CC, yes for those who follow me you understand; this stack of hyper symphonic drum pads and this guitar solo, simple and bluesy, perfect and chiselled, in short an easy title that had to be created, which only BJH could do; Alan's sax adding a touch of nostalgia to the dino era which was ending, and this perceived tatapa which gives you a layer of it, just beautiful which is not bad.