IN THE EYE OF THE STORM

Roger HODSON for his 1st personal album, the one that will put the prog sympho into perf, the one that will force the other members of SUPERTRAMP to release the fabulous 'Brother' a year later, with a certain Gilmour on a solo; in short this day we attack, we revise with the album:

1. 'Had a Dream ("Sleeping with the Enemy")' for the intro you say to yourself, we are not far from a Supertramp, yes I had to do it; the piano carries well, Roger with his voice shows that the group is well finished; I often think of this album as FISH's, better than the original; lively western piano break; by the way, I no longer remembered that he had given himself so much (watch the wild man clip!); in any case it's simple but it passes quickly 2. 'In Jeopardy' for the synth typed at the start, a title whose musical imprint you will keep; the voice with belched choirs, the rising organ and the bewitching air, echoing; very good recording which marked me almost 40 years ago, yes it hurts, I have the impression that it was before yesterday; a fagot of solo synths and a long finale that rocks you 3. 'Lovers in the Wind' for the ballad with these notes where the shadow of SUPERTRAMP still bathes, yes it seems... or... in short, a melancholy melodic title of great beauty or how 4 minutes flow like a note piano 4. 'Hooked on a Problem' good the surprise effect of the 1st title passed, we are of course Sup... on HODGSON here; how I'm doing, the voice, the intonation of the keyboard, yours while typing on my computer I have the impression that it was me who composed this title... a mixture of before and now ( if I had written in 84!); Scott's sax gives a layer of it; it explodes like on 'Breakfast in America', but the fact of knowing that even a split SUPERTRAMP imprint continued was enough to make me happy; over time it becomes a bit repetitive and redundant, at the time it was 'open bar' the party since the prog or what was left of it exploded everywhere, merged for a time elsewhere before going boom again 5. 'Give Me Love, Give Me Life' piano, languorous keyboard, Roger behind his vocal cords, a touching ballad nursery rhyme and you can feel it going up, on the second title in fact; it rises, rests, rises again; you have to wait for the 'live' mini break to tell yourself that you're in prog and that's when the rise comes to light, making you sweat in front of this cascade of notes, a little YES, in short always pleasantly surprised. 6. 'I'm Not Afraid' yes a bit of Phil COLLINS you thought about it too, like what! shouted voice, harmonica, gripping riff, a progressive title in the oddly constructed length; the final drift can surprise since we were programmed to hear a repetitive title, that nay here a synth and choirs in wave are enough to transcend the piece until the final ecstasy until the second chained centerpiece that is 7.' Only Because of You' where you'll sit and watch the clip, just for beauty, yes the one with the symphony orchestra; just to realize this progressive monument, like the ELECTRIC LIGHT ORCHESTRA had done in their time, like the BARCLAY JAMES HARVEST; a rise as we dare not imagine, Claire assures the voice, we melt; good the sound of the 'Fool's Overture' is also there for something not to forget; good the solo which arrives, hard, is in itself worth the trip it combines magnificently with the whispered voice; here are some memories to better enjoy today's prog sound!

The OMNI album to have, to possess for the emotions it always provides despite the passage of time; the album which made it possible to buffer between the end of the dinos of the 70s, including them, and the neo revival.