MOTEUR!

1. Tant Pis L'Indien, with Robert still on guitar, the sound continues to evolve, as the times dictate, more in-your-face, more synth-pop after the heavier rock sound of Vu d'un Chien; here it's easy to listen to, fast, and it cleans the atmosphere of Mandrin's sons, well, that's a good name. 2. Saga for the fat synth, especially for having this title that reminds me of my favorite band; in short, let's imagine Didier's bass on Subway, which would come out 4 years later; the funky bass that was fashionable during the 80s. The lyrics are more common, less seductive, which is a pleasant contrast; in short, a passage with a prog outro, the guitar and synth playing it cool to remind us that ANGE was prog above all. 3. Rien N'est Trop Beau Pour Toi, with Francis on his electric piano, sparkling and nostalgic, just like Christian's vocals, which play on an innocent, or almost, bucolic nursery rhyme; A beautiful stylistic exercise to be used as a progressive interlude. 4. Mourir, Souffrir for the crystal keyboard and the heavy riff, hard at the time; a jerky rhythm, a nervous vocal launching the chorus, and I understand the early fans wondering where their band was going!!! But in the 80s, to avoid dying, suffer slowly, good people! A captivating synth break, I like it, it's a change, yes, we have to evolve, but it's a tad short, were they trying to release a radio edit? 5. Touchez Pas à Mon Ciné With the bourbon mentioned from the start, yes, I listen to the lyrics; otherwise, it's definitely blues on an Olympian synth, in short, the organ comes from Francis, who transformed his touch, his range, and the listener's perception; the vocal on a Z-series movie or something else for the longest rise of this side, well, for me on cassettes, it was like that; The warm guitar solo is breathtaking, but only the voice tells us that we're definitely on ANGE, my good people.

6. Détective Privé will get people talking and jazzing; the radio edit track is on confident FM rock, the word is out; a pleasant, bouncy track, an electric rhythm, the guitar evoking TELEPHONE at the height of his craft; Christian stays the course with his instantly recognizable voice; consensual nonetheless. 7. Un Autre Jazz, which goes for it on this singular track; in short, bass on the right, Christian in front of you, and the track is playing Michel JONASZ; the sound has changed radically, was that a good thing? Personally, YES tried it and changed it since it was required or it would no longer exist; come on, play another jazz track and listen anyway, and stop complaining! 8. Moi, Pas Idiot! for the most criticized track, the furthest from their original sound; a bit of ska, a bit of new-wave without wanting to say it, the song with the captivating guitar, a nice snub with Francis who answers Christian; a tune that also makes me think of LAVILLIERS, no one has criticized him for his mistakes; in short, the song that is not so stupid IMHO, yes, I sometimes give my opinion 9. Assis! for the basic orchestral rise on a borderline cappella vocal; Robert shows that the guitar must also carry the song, which he does very well here; Christian tells a story without being bawdy and on a beautiful crescendo that goes, goes forever 10. Chatte, Chatte for the conventional heavy rock FM track, a bit French produced without having to copy the Anglican; the riff that talks, that makes you nod, Christian who puts a little sensuality back into his text with well-marked images; Rock is meant to be fast, easy to access, ANGE gets into it, not into the pussy, follow my text a little. (2.5)

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