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Tracklist: 1. On Commense (inst.) 3:28 2. Dead Can Sing 5:23 (lyrics by H. Le Tellier) 3. The Last Song 6:27 (lyrics by M. C. Pasquier & E. Schwabe) All music composed & arranged by Francois Ribac. Line-up: Francois Ribac - keyboards Martin Newell - lead & backing vocals Laurent Hestin - electric & acoustic guitars Felipe Cabrera - bass guitars Francois Bellin - drums Bruno Desmouilleres - percussion Pascal Pallisco - accordion Daniel John Martin - violoncello Yann Martin - trumpet Francis Touchard - clarinet Frederic Saumagne - saxophone & flute Recorded & mixed by Charles Frossard at "Mesa" studio, Soignolles, France. Produced by Francois Ribac & Martin Newell.
Prologue. This mini CD includes three extracts from Francois Ribac's Rock Opera "Qui Est Fou", which was performed on "Moulin du Rock Scene Nationale" in Niort, France, on January 12, 2002.
The Album. This mini CD was not even listed in the latest Musea press kit on CDs that I received from there a month and a half ago. Judging by the music that is presented on all three of the tracks of "Another Way", I think that "Qui Est Fou" should be one of the most interesting and intriguing Rock Operas ever created in the history of Progressive Rock. I mean all the kinds of Rock Operas despite the fact that "Qui Est Fou" features the only singer. This is an Englishman Martin Newell, whose vocals are of a high quality by all means (all lyrics are in English). The first track of "Another Way" is, however, instrumental. Musically, On Commence represents a unique Classical Academic Music, which, though, was performed in a way of Classic Symphonic Art-Rock. Certainly, there aren't any repeats on it. However, it was constructed so wonderfully that any of the profound lovers of Classic Symphonic Progressive should immediately love it, then - comprehend it and, finally, be very pleased with it. On Commence has a truly symphonic feel to it despite the fact that lots of varied interplay that are featured there contain not only 'Rock' and chamber instruments, but also the brass. The virtuosi musicianship by each of the instrumentalists, kaleidoscopic changes of tempo and mood, complex time signatures, and the constant development of the arrangements in general are the main features of On Commence. Although the vocals cover about two thirds of Dead Can Sing (2), on the whole, this song can be described with the same 'epithets' as for On Commence. In other words, there aren't repeats of the instrumental and vocal themes on Dead Can Sing. The vocals are here so tasteful and impressive that, in my view, it's just impossible not to love and comprehend them already at the first listen to the track. The instrumental parts of Dead Can Sing were performed in the vein of On Commence and with the use of the same instruments. A blend of Classic Rock Opera and Classical Academic Music would probably be the best definition of the music that is featured on Dead Can Sing. The Last Song (3), which is probably the last song of "Qui Est Fou" sound noticeably different than both of its predecessors. Here, the instrumental arrangements are mostly based on the parts of 'Rock' instruments, including the wonderful passages of acoustic guitar and virtuosi solos of vibraphone. While the brass and chamber instruments were involved in interplay with them only once. In the end of the song, the same refrain was repeated a few times, which, though, is rather typical for the final parts of conceptual albums in general. Certainly, the stylistics of The Last Song is nothing else but Classic Art-Rock.
Summary. Really, what a wonderful and original music is featured on "Another Way"! I only wonder why this unique Rock Opera wasn't released on CD as a whole. Though, maybe, the release of "Qui Est Fou" on CD is today in active preparation? If not, thousands connoisseurs of Classic Symphonic Progressive will never become acquainted with the work that, doubtlessly, has a mighty significance for the international Progressive Music movement.
VM. May 29, 2002
Francois Ribac web-site:
"Musea Records" web-site:
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