STEP AHEAD

1. Eyes for a new sound, remembering the era, 1982; the synth, the guitar, the bass, the drums, and the tune that brings to mind MARILLION, still in its infancy! I'll rephrase MARILLION, they'll definitely take some ideas from it! 2. Right Or Wrong for the imprint of heavy prog bands like RUSH with the chiseled riff; Danny's vocals, a bit high-pitched but without an accent, also a plus; the alternation between melodic verses and catchy choruses, a heavy sound with Christian's fiery guitar solo is the plus, as is Claudie's keyboard base. A symphonic atmosphere that still dares to play the long songs of the 70s, with the final guitar solo on a bewitching fade. 3. Thinking with Gabrielian flute in the intro, high-pitched guitar, and a jazzy rock tune for the long opening; after all, the song is very good for its time, a bit dated today, which makes sense too. The guitar solo is THIN LIZZY-esque, or rather Gary Moore, but softer, before moving on to the South American, playful and fruity version; a stormy outro leading to 4. Heaven on an acoustic arpeggio, like a slow romantic ballad drifting over the instrumental focused on the drum tempo. Energy combined with psychedelic guitar; prog in search of itself, well-crafted and a pioneering album, I'm sure.

5. Eleven Days for the second side, yes, the CD was in its infancy; the captivating, medieval intro, a hint of ABRIAL for a while, and then the vocals, on RUSH, good or bad depending on which side you're on, very high-pitched indeed. Consensual sound, simple, but the variation on the bass and acoustics also brings to mind MAIDEN, pleasant. The crystalline notes with the distant cello amplify the dark and solemn side, I confirm that there was a lot of potential at the beginning of this decade. 6. Hell follows on the delicate arpeggio, stereo guitars and boosted pleasure; a superb instrumental interlude refined and fresh at the same time. 7. White Lady as a follow-up to this 'Hell', the track that combines AOR vocals, FM rock and the symphonic rock movement, with TWELFTH NIGHT, IQ, PENDRAGON and the spearhead MARILLION a few months later; a rhythmic track with consecration, the fusion of the guitar with the synth for the final melodic and slightly heavy fade of caviar. 8. The End for the latent intro, clear, notes scattered; for the voice that reminds me of Franck CRDUCCI's high voice, it's funny how memory can work to find a similar voice. in short, the rise is searching and explodes gently on the air of RUSH dubbed with a medieval refrain supported by flute, disconcerting. The sound swells and goes on the sympho-latent prog rock space, no doubt that many fans of MARILLION will find preambles to the sound of their favorite group; meanwhile I dive back into the beginning of the 80s and realize that this album was very avant-garde with everything it took to explode in good... The musical world is sometimes ungrateful; the final keyboard solo is a pure example of neo-prog beauty!!

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