THE BEGINNERS GUIDE TO THROWING SHAPES

1. How Do I Look ... I listened religiously, Ian and Michael took Jim's place, the SAGA sound doesn't seem to suffer too much; sharp riff, break, it spins, excellent as an opening, the soul of the band is still there 2. Starting All Over for his voice and his choirs, for the uptempo ballad on the drums which seems programmed, yes I had a soft spot for Steve; it rolls, it flows; the plus these stereo synth notes leading to a guitar solo which tears and saves the song 3. Shape .. there you go, are you settled? the orchestra sets its instruments and it's off on a crystalline ballad, sound and choirs on a melodic and metronomic synth, lacking fervor, yes grumpy I am, I miss Jim too; Well, Curt uses his pads for the nervous break, the two brothers play their SynthAxe, good, but the final fade-out disappoints me a bit; it lacks prog. 4. Odd Man Out continues to drop in Saga-like rhythm by offering this romantic-Wavian slow jam boosted by more or less sampled keyboards; the acoustic guitar plays its crystalline notes and then cracks a solo; the marshmallowy electric solo makes the piece nostalgic, intimate, and simply beautiful, with Michael on vocals always performing. 5. The Nineties and the nervous prog pop rock attempt, redolent of the work of GENESIS, sharpened for the pads, even hints of RUTHERFORD in fact with the heavy riff and catchy phrasing; an attempt at a more cutting-edge sound with the catchy chorus, it's hit or miss! The unique brassy keyboard break before the final fade-out and the chopped-up tune.

6. Scarecrow for the second side of the LP or cassette and we find the band's nervous sound; the instruments above all give way to Michael, Ian's guitar which wreaks havoc and Jim who ensures the rhythmic base with the new drummer; a cheerful, synthetic air, we are approaching the end of the 80s and the digital sound has really transformed their music; the heavy break then the rap voice, a test yes 7. As I Am for the latent intro, spatial I don't know but prog; piano touches announce the soft prog title with warm choruses on the still raw guitar; the chorus is catchy, making you want to move, dance; the incisive break on the SynthAxe to give the impression before one of the most beautiful instrumental solos, just delightful, the notes gushing out everywhere from each instrument 8. Waiting in the Wings ... Yes YES at the start we feel like we're there, the bass very heavy, and then the riff that takes me back to 90125, heavy without overdoing it; in short, a title again in the style of the group associating Ian on the synths, solo, solo, riff, in short he is everywhere; the break that follows is worthy of a real musical joust, sublime to listen to on the system with the notes coming out of the surrounding speakers, to see what it would sound like in Atmos; in short, simple but punchy, nothing to throw away 9. Giant for the banjo intro and old cowboy voice; a minute to confirm that SAGA still knows how to make synthetic prog, read in summary; A consensual track with keyboards as if Jim were there, the guitar chimes quickly, the band's strong point, which doesn't wait for the endless verse-chorus-solo; Well, Ian rightly throws us an epic jam that seems to speak with his guitar; the keyboards set the place on fire, the endless descent of embers, yes, like in the greatest hours; 7 minutes of pure madness, of creative sound; return break of the intro on the banjo for a while, everything is done to make this track a must; the final fade is there in its place. A good album with a few imperfections, but the soul of SAGA oozes from everywhere, validated.

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