Should we expect bells and whistles of the first disc of the legendary duo tandem of French song? Judging by their latest productions in solo, doubt was permitted. Chez Laurent Voulzy, nothing very pleasing since the excellent "April" of 2001 between albums again and moyennageux chore. As for the demanding fans of Alain Souchon, they can concede that the last really good album of their idol was in 1999 ("On the grass roots"), after an album, "The Theodore life," halftone, and last test, "Look where my sorrow comes," an unusual weakness in its author. From these considerations lukewarm, one can describe this return to good surprise duet with pleasant songs, well produced, that sound like a good album Voulzy, in the tradition of a "Hidden behind". The beatlesien single, "Behind the words," refers us a little "Paradoxical system" in the same time. Elsewhere, the charm works with a folk-pop production without great audacity, but very nice to hear. Some quotes of old masterpieces, without equaling them with "Ile de France" which recalls the classic "Grimaud" and a "Bay of ants" which offers charming reminiscences of "Fisherman's Dream ". The charm operates on almost all the beaches, with a special mention for "Consuelo", whose music discreetly quotes the "Knocking on heaven's door" of Dylan, a tribute text to Saint-Exupéry through the grief of his widow.
The slight disappointment of all is probably due to the pen of Alain Souchon, probably less incisive and less flowery than in the past, where his often brilliant linguistic discoveries made the difference. His taste for social chronicle nevertheless appears in "smart Bird," which speaks of potential revolt of the oppressed. The taste of the portrait, less sharp than usual, operates through "Bad boys" where the portrait of a supposedly modern teen seems anachronistic when it reads Baudelaire and listening AC / DC. One thinks of "Little Bill" and "Waiting for Someone" girls portraits belonging to mythology "souchonniennne". These derisory flats will not prevent the listener to appreciate the true value of a seductive album, cooked with love by two architects of the song, that will not be hit by the comparison with Simon and Garfunkel.
