YOU'RE DESPICABLE

1. The Upside of Down is a typically UK sound, a prog-pop rock bordering on funky with its brass and catchy riff. 2. Got Religion, with the Blues Brothers rhythms and the energetic piano, a hint of Grease to further unnerve you, fresh, to be enjoyed on a mountain bike with the wind gently slapping your face; note the velvety and melting keyboard of the time. 3. Estus Pirkle Night opens with piano, yes, David does everything from electric to organ; there's a nostalgic air to this track with the arpeggio break taking me back to GENESIS; the final wild synth solo sets the place on fire and shows that you don't have to have a guitar hero for every song. 4. It's Not the End of the World, the intro is always polished, we understand better what kind of tribute they were; the vocals begin to have their effect and integrate into the instrumentation; The energetic rhythm reminds me of the heyday of AOR with BOSTON, and later TOTO; fresh progressive blood too with this development and its soaring violins, a bit of ELO, a bit of more recent HOGIA, ah, the acronyms are there. 5. Space Force and its warning siren, the fast pad, the piano even more, the synth à la 'Mars Attack', captivating this track, catchy, between jazzy and hi-hat, between cabaret freshness and festive rock bordering on heavy with its frenzied choirs, a breath of fresh air with the enjoyable hard outro. 6. Little Fools for the suave Asian ballad, vocals by Solaria or Natalie, melting the ballad; evolution for the typical crossover track which reveals its prog declination over the course of listening; hints of ELO in the distance for the velvety orchestral base. 7. You'll Never Get to Boston, a funfair organ intro with applause, a sort of "The Persuaders," or when the cinematic beauty lingers; acoustic guitar à la KANSAS, ethereal choirs, and a waltz solo; focused on the chorus.

8. World in Action, a direct attack, a meeting of rock and new wave by the CARS; an easy track with its marshmallow guitar solo, the other on a Japanese keyboard. 9. Watching, a GENESIS track; I'll let you search a bit for the fat and catchy keyboard; always rhythmic with the choirs that show themselves more, in short, it jerks. 10. The Dragon Who Swallowed the Sun, a 60s guitar intro, from the era of gangsters in dark glasses and Piaggios; a solemn air on layers of keyboards. 11. The Devil in ABQ, for its slide guitar sharpening the piano notes; A little harmonica and we find ourselves in Louisiana, a Cajun zone that sounds good with the jerky air inviting us to dance with its thunderous trumpets. 12. Open Minded intro à la COLLINS, a Japanese zest, on JAPAN then the sax reminiscent of Phil and it's off for the repetitive title; here we have to wait for the break to feel the frenzied rhythm. 13. Blame on You for a nervous bluesy rock with a strong 80s feel; lively with the fat synth and dynamite drums; more energetic melodic rock in fact. 14. What the Butler Saw superb dark intro, disturbing, fresh, electric, nervous, in short cinematic; well, the CARS keyboard I insist with its haunting stereo reverb, the guitar riff that comes in announcing a superb solo precisely, it spurts everywhere; fusion of a TOTO, YES, CARS, brief monolithic piece with the heady and rhythmic keyboard for the rest; a beautiful moment gradually becoming wild.

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