SCARY MONSTERS (AND SUPER CREEPS)

1. It's No Game (No. 1) early cinematic intro... that's prog, let's move on! Good all the same Michi Hirota who gives his voice, David who lends it, more hoarse than anything else and a title heralding the new decade, to point out that the creation there was some what the proguous 70s say about it; the tortured guitar of Robert from KING CRIMSON just to say, and the title redundant, repetitive, high, tense until the last note! 2. Up The Hill Backwards playful pop rock with Tony Visconti on guitars, a catchy space western track with lots of little progressive finds in it; consensual but full of charm 3. Scary Monsters (and Super Creeps) you will have to get used to it FRIPP's guitar sound is unique, hypnotic and visual; here a bit of the CHEAP TRICK riff on the soundtrack 'Heavy Metal', heady during the judgment of the green hero, in short I invite you to go back; the eponymous title which tumbles plugged into 420 volts, which flows like drops of water from a waterfall; the tortured solo but you know that, its avant-garde at the start of the decade; slightly redundant ending despite the chorus 4. Ashes To Ashes for one of the 10 best rock titles, period; the variation of varied notes, the beauty of the voices, the bewitchment of the air, a sound coming from the stars, from Mars, elsewhere; this air which is inserted in our subjective cerebellum, which makes us dream; this unforgettable clip, this syncopated and minimalist piano by Roy, this white clown trying to get out of the water, the bulldozer, unforgettable moment mama said... pffff I'm still sweating and the languorous keyboard which reminds you finish, come on, I'll put it back 5. Fashion for the second slap of the album, the sound, the found air, this drum hit, the riff that scratches, the funky disco trend that is emerging, turn to the left, turn to... beep beep ? Talk to me, dance to me, fashion well it's my brain that lets loose and tells me to write... or how to find osmosis, the perfect association of music without labels The clip made me laugh with this syncopated by David as if music could suspend time, it makes me laugh... I believe in it! 6. Teenage Wildlife side B yes the CD we were talking about but it hadn't arrived yet; in short, afterwards we start on the dreamlike pop ballad with progressive flights just by the voices which at one moment seem to have gone in any direction... just before the rhythmic and Asian verse; torturous guitar again, well surrounded the guy for this concept album without wanting it; end a tad long in redundancy 7. Scream Like A Baby changes, based on David and his voice well, raw in the verse, softness in the chorus with ethereal synths, well it reminds me of SPARKS this title... the riff again on the aforementioned BOF, yes the rock is a few chords, 3-4 as Eric said, RIP; and then you hang them on top of each other; use crazy phrasing... for those who don't follow it well!! And stop crying like a baby 8. Kingdom Come for the cover of Tom Verlaine who released it a year before; a title that made me question, which sucks the other and why take it back so quickly... I'll forget the tune; good Tom was doing new-wave does this mean that David was doing it? 9. Because You're Young continues on the same plot, namely a fruity title filled with parentheses more or less rapid, more or less worked, with chiseled, worked, programmed notes... giving a marshmallow title and in which David shows the range of his voice; note the keyboards that could be used without overdoing it, proguous I understand you there 10. It's No Game (No. 2) for the monolithic mid-tempo cover, like an outro for this album really like no other; sound that amalgamated in 3/4 hours gives a staggering, uncontrollable effect.

David, an exceptional author doing rock, disco, pop, prog, art-rock by definition, who experimented and pushed back the labels so that we just took the pleasure of listening to him... Whether it was Ziggy Stardust from Mars or Space Oddity, David is all in one.

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