it is sure, it is not very hype. Seen like that, cold, that does not give desire. However, Jean-Jacques is not kind to follow the hype and the last trick mode which moves and delighted connected. Thus here, one will not make it wavering and one especially will not make seeming: this disc is traditional. Initially, let us put the things flat good and last time. Suzanne Vega does not interest large world, especially in 2003 when one contrefout of what it has to say. It thus does not do the one of the newspapers (nor even the second) and cannot enorgueillir itself to have with its continuation a small group of faithful resolutely upset by all that it leaves. However, some share, Suzanne Vega remain much more interesting than, randomly, Courtney Love. Who needs to be the ex-wife and current widowed one of the last superstars of the rock'n'roll to exist? Not Suzanne. Who opens more his mouth for saying conneries that to sing songs? Not Suzanne. Who regularly makes speak about it in the tabloïds? Not Suzanne. Who plays with the media but does not propose anything musicalement? Still not Suzanne. It was said too much that Courtney Love was rock'n'roll and punk, it is in fact only circus and show biz. Miss Vega, it, composes, plays and sings her songs and the listening which wants. The remainder finally imports little. Sure, I like the attitude, the look, all this kind of things which accompanies the music. But it is necessary initially and especially that there is the music. Good, that is there, one is ready to listen now? I thus said that this disc is traditional. It left 16 years ago and it did not take a wrinkle thanks to the fine and intelligent production of Steve Addabo and Lenny Kaye. One cannot say of it as many all the discs left at that time. You recall: 87, synthés the dyes, the batteries pans, the lack of total heat, I pass from there and from the pires.... This album remains limpid because it is pressed on musicians, sober and concerned, and avoids the pitfalls of the overproduction. One hears guitar, the low one there, battery (and the true one!) and if synthés there is, they are present in any discretion, raising with sensitivity gives it, in factors environments. The album is listened of a draft without difficulty, all runs and rises with grace and naturalness, the songs are followed and resemble, formidably not arranged, one does not detect no tic of composition there, no repetition. What also makes of it on arrival a very dense album in spite of appearances. Because if one plays there with emotion and spontaneousness, this disc is built and thought well also well. Perfect balance, therefore. Moreover, the 10 pieces suggested are wonders of writing, compositions always clever and inspired, words in turn right paintings of the daily newspaper, historiettes to the characters finely observed or symbolism and surrealist poetry. All surprises, made tighten the ear, invites to discovered and the abandonment. An at the same time intelligent and sensitive disc. A work of group around the personality of Suzanne Vega too. The majority of the 10 pieces were written with several and not only by Suzanne. Their writing is also spread out over 10 years, from 78 to 87. What wants to say work, much of work, to provide the disc more succeeded which it was possible. And the result is thus a wonder, a disc which one can listen to and réécouter. It passes the slope still better today, it is to say. One remains amazed in front of such an amount of inspiration and control. There are still other reasons with that. This disc was the second of Suzanne Vega. The first was purified, very folk. It wanted something of more universal for the following disc, a disc less roots, more opened, more mainstream also, less anchored in diagrams, less reduced to a well defined style. In this direction this album became a challenge: it was necessary to preserve the grace, the purity and the intimacy of the first but to also open with other influences. What caused a true blooming of the music of Vega. It is interesting to note that they is when it is endangered somewhat, or all at least out of its beaten paths, that the talent of Suzanne becomes obvious and impresses genius. The following disc, which took again the same receipts, empty and was stripped of emotions. These current discs do not shine by their energy and their corrosive. There is only when it was confronted with the rhythmic electronic ones, following the success of the resumption of "Tom' S Diner" by DNA, that Suzanne again laid a large disc. It would not be badly that it thinks of it for the next one of the risk if not that it is seen granting as much attention than one énième live of Grateful Dead. For memory, let us recall that the disc begin with "Tom' S Diner", has cappella. Follow "Luka", the tube, topic breakage-mouth magnifiquement surmounted by decency and sensitivity, superb "the Ironbound", magic and beautiful, ode with freedom, "In The Eye" or the topic of revenge seen by a woman, and it is pitiless, "Night Vision", close friend and poignant, according to Eluard, "Loneliness Standing", a surrealist dialogue with loneliness, "Calypso", homage to the geôlière of Ulysses, "Language" where Suzanne announces his mistrust to us with respect to the words, "Gypsy", quite simply upsetting, and worrying it "Wooden Horse", dedicated Ca finishes with "Tom' S Diner", this time entirely instrumental. And there is not any more but to give the disc to the beginning. It will be noted finally that Suzanne Vega made honor with feminism, truth, not that which in addition to intrigues of Joey Starr because it represents the easy and quite practical target, but that which preaches love, humanity and sensitivity by knowing that that does not prevent the force, dignity and the personality. It is known as. And Jean-Jacques loves the women. Then like that, all goes well.

Ben Kennedy.

CV .