DREAMER / BLOODY WELL RIGHT

1. School and the harmonica, that's it, the man with the harmonica, a duel? Nah, it's school, just the bell; the sax on the left, yes from the time when we liked stereo effects; hold an arpeggio on G, another on D and the cries of the schoolchildren... let's go; the sound is used yes, the progression does not care, it wants to be latent and brings this rise which is good for morale, yes the gallop of the drums, you had almost forgotten, and the piano which suddenly snorts Also; it's beautiful, inscribed in our ears between the anvil and the stirrup; grand finale but it's not over a chorus for fun come on 2. Bloody Well Right on the crystalline piano, half jazzy half pop-rock, a sound apart, well, we're on SUPERTRAMP; the croaking guitar, the bass struggling and trying to forget that it doesn't have enough strings; this hard riff, yes I say it, or I write it, it's up to you, all right? The simplet piece from Simplet that works on its own, the sax adds a layer of it, not for nothing is it an OMNI 3. Hide in Your Shell yes deep in your eyes, look who pumped on the other; in short, here we are talking about one of my favorite tracks from the album, everything is the intoxicating keyboard... water only water, the rise in several times, the explosion I would even say, the echo drums, the diphthong voices, the musical saw, in short everything 4. Asylum piano input yes, any voice, yes .... bof; this is where I find the original sound of the intro of 'Fool's, but hey it's so fleeting that I keep it to myself; I feel that it will rise, in a symphonic way, like pompous titles by BARCLAY JAMES HARVEST, melodic, soporific but with enough rhythm to make great pieces; aside on these 2 unloved groups of the progeux because having passed on the radio... ah the poor, if they had known they would have acclaimed them rather than thus letting punk and other derivatives come on this same radio; boom boom, the chorus with vilons, bells, just to remind us that creation already existed at that remote time, what are you talking to me about now, good OK; final with a hardos solo guitar, the notes spurt, the voices of Roger and Richard in osmosis, hello. 5. Dreamer give me a more meaningful intro than this, give me a 3 min track that seems like 10... yes the 'Good Vibrations' I grant you, but still it's good. .. the stereo for the voice and the choirs, maybe that also made me dream, like THE BEATLES of yesteryear even more with this sound that fills the room; that's it, it goes, it hits everywhere, dreaming you hear it, when the musical oxymoron is set up by proposing unmentionable things. 6. Rudy sic piano arpeggio, jazzy variation where you're alone at the bar, hold a whiskey I need a pick-me-up; well it's cool this title ah well he starts to shout, well the piano keeps the atmosphere; boy a second another yes that one with the thread, it must be an old Ardmore I guess, just peated as it should be; but it's really not bad this piano, it reminds me a little of the 'Fool's' that I will listen to a few years later, the intro ... progressive with the megaphone; no thank you no third, we need moderation otherwise Méta will still look for us nouases (baffles... but shhh don't spread the word otherwise we'll be censored, ah damn it's over I hear people leaving; this end worthy of a melodrama of the 30s what can I still like it now; Rudy I have you under my skin and it's not that dram, oh yes two I forgot thank you for following me, 7. If Everyone Was Listening ballad for 'And we schemed' which I translated as 'and a whiskey' as everything has a link; ballad, flute, restful nursery rhyme, clarinet, remember the cellos and other trumpets of today integrated into pieces ... of now are not avant-garde; the violins hurt my heart ah ok it's a coded message instead of 'The long sobs of the violins of autumn hurt my heart...' come on let's attack 8. Crime of the Century for the title everyone knows there; for this attack... again... of pads, of voices, of this intoxicating rhythm; this hard voice, this accordion, but where are we going? the solo that comes, yes, the one we all know, it's one of the most beautiful for me, more moving, more more; oh yes the piano cover too, the pad massacred too; you will have understood it, one of the most striking progressive titles of the last 50 years, I don't really need much, the violins twirling around reassure me... if I still like it, it must be damn good!

Good 5 for CRIME of course!

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