Artistic zenith

It is with this album that I fully discovered Jean-Jacques Goldman. Previously heard only 45s as radio and broadcast TOP 50. I admit that even today, after more than twenty years (already!), This disk always makes me much effect. First of all because it contains all the elements of the music of Jean-Jacques unlike other albums, but also because there are tubes and conventional shovel and other securities , less known, which for me are so many gems to discover and rediscover because you never hear them on the radio, which is confined to broadcast the same songs.
"(Intro) A What You Serve?" is a rock song, almost hard rock for his riff, but production and the mix come to include many elements (like these discrete but essential percussion) that make this song remains totally public. A lot of studio work in this convoluted song, truffled effects, which I appreciate the progress of the introduction to the final just sung (regardless saxophone solo!).
"He changed Life" is one of those titles that has enhanced dynamic on stage. Already very rock studio, it comes into its own in concert (the version released in 45s in 1989 from the album "Traces" is a marvel). The gimmick keyboard is a total success and production, typical of the 80s, reinforces this impression.
"Tout Petit Monde" was conspicuously absent from the first CD edition that included only eighteen songs instead of twenty, for lack of space. Tort repaired! This pretty piano ballad, text tolerance grows to an explosive final filled with hope.
"Là-Bas" with Sirima, remain one of the greatest achievements of JJG. Pushing the history "(The Road Is Long) American" at its worst, JJG created a very successful text where the inevitable separation of a couple is a tear, an effect reinforced by the wonderful clip illustrating the 45s. Music, passed a mystical introduction, is typical of Jean-Jacques Goldman. A timeless classic!
"This is Your Chance" is one of the songs that took advantage of the passage of the single disc double album. The original introduction is preserved and not cropped, which allows you to admire this excellent introduction to jazz tunes performed on piano, omnipresent instrument on all the verses of the title. Song where hope is still appropriate, the chorus is memorable at first listen. This is one of the strengths of this great artist, compose simple melodies which are embedded, but do not just touch the ears.
"Between Light Gray and Dark Gray" is a dynamic as well enjoying the modern studios and technology with its extraordinary lift keyboards melodies. By the admission of the artist, from the 90s, this song is one of those who live badly the years because of their way of being registered.
"From Bouts Of Me" is another song advantage of modernism. Very rock, the original introduction is complete from the first pressing in cd.
"Make A Baby" is a rock song, again. The text, bittersweet but very fun, is the sequel to "A Made It A Baby All Alone". The tempo is quite removed and the production is once again a song experimentation in the effects. One can note the presence of samples.
"Since You Pars" is probably the song that the audience holds this album with "Là-Bas". A heartbreaking melody, a heartrending sadness where bitterness is required, tear tears from a stone! The guitar solos are a marvel. There is nothing to throw into this title which is an absolute classic.
"Easy Girls" begins the "B side" of this double album. I say "B-side" because the eleven songs that are on this second part are older and less produced, JJG wanting to experience the taste of a more regular studio work as a craftsman with his guitar and piano, but modernism machinery and instruments, hence a big difference in sound and style. The first nine songs are typical of the 80s while eleven others are more dated. "Easy Girls", therefore, is an amazing piano ballad with a slight whiff of jazz, and remains one of the three favorite songs of the artist repertoire, one of his greatest successes with "Ensure Late" and "Jet Te Donne". The text pays tribute to the ladies lightly under, but with all the respect due to them.
"I Begins Tomorrow", the respected introduction, is an acoustic way, Cajun / blues limit. The tempo, slow, allowing Jean-Jacques to concentrate on his text rather amusing.
"She Made A One Baby All Alone" is a song recorded in 1983 for the "Positive" JJG album but was not satisfied, and therefore set aside for rework. The eleven songs that make up this second album are actually part of old songs written at different times, but not selected as too different. Each disk, JJG was left with a song or two on the arms he did not put on a 33 rpm, until there is enough material to offer an entire disc of the studio falls. Taking advantage of its growing success, and believing that the public could easily turn your back at any time despite the period of trust which he enjoyed, so he recorded these songs within easy reach. "She Made A One Baby All Alone" took advantage of this thought, and was the first 45 extracted while the album was not out yet, history "to irritate everyone" in the words of JJG. The music, very catchy, has a banjo and kazoos for the solo. The text, very fun, is a simple finding of society. The end of the song, played the keyboard, because it denotes is one of the very few passages played with a "modern" instrument.
"What Part, Someone" is a song whose beginnings were heard on "Not Approved. The text mentions the quète happiness. A totally unknown song of the general public which nevertheless deserves to hear it.
"Either she she" is a typical ballad JJG piano. Not reaching two minutes, his emotional force is constant to a final group.
"Sweet" is a bitter way, the South American overtones. It's a song that reminds me of "Winter Garden" by Henri Salvador in style. Again, a song less accessible, less typical style of Goldman.
"There" is a completely and totally acoustic song recorded by JJG. This is one of the great classics unknown to the general public. A total success.
"Resume, Flying This is" a sad song on the piano with the final bottleneck. Played on tour, it enjoyed unprecedented party.
"Nothing Scary Blues" is a song that has had some success in its live version in 1989. Here, the song is shorter than in concert, but despite the absence of the final, the title retains its full force between parts breaks with the piano and lead guitar. Bitterness and brewing emotions are essential.
"It Restera Me" was absent from the first pressing cd. It's an acoustic song that keeps the fun snapshots sweet but sweet pleasures that we forget quickly. The least interesting title of the disc, but it is pleasant to listen to the occasion.
"Belonging" is a beautiful piano ballad, very airy style. Of just over two minutes, it's a nice outro for the album. The style is typical of JJG.
Finally, a double album whose qualities are growing year by year. A timeless classic by Jean-Jacques Goldman that surpasses many of its past and future albums. The duality of the concept is not a disability, on the contrary. Two different styles to a single artist!