Again on Acuarela, the five songs in this new release are faithful to the guidelines Reynolds has conscientiously set: class, utterly elegant decadence and capricious shifting (indifferently embracing the use of soul, storytelling, techno pop or recited poetry). In "Tuesday's child" he develops a personal white version of black music, silky and romantic, and then strikes suddenly with "Banished by the Underground, Hunted by the Overground" and its shy noisiness -not because of what it says, but because of what it insists on hiding. Reynolds' then dares to go and corrupt Hal David and Burt Bacharach with "Silverblues", a swampy ballad that leads into a "what the world needs now is love, sweet love", which he turns into a choky and needy lament. "Butterbaby" starts and finishes with shy pop, but turns cheekily addictive towards the middle (Reynolds is a specialist), and as a conclusion, the song that names the album wraps Oriental vocals in misty cloud sounds. But on top of everything else -Jack and Jacques, folk and blues, pop and cheeky eighties style, there will always be the voice, the pose and the attitude of a man for whom life is music; life is also Reynolds' best way of staging what a great star he is and will always be. He deserves it.

Formacja Jacques to nowe oblicze londyńskiego zespołu Jack (Talitres), a głównym twórcą jest Anthony Reynolds. Wraz z gitarzystą Richardem Bell, Fosterem, Matthew Scottem i Japonką Midori, która w tytułowym (i zarazem najkrótszym) utworze czyta poezję Reynoldsa (po japońsku!) stworzył płytę z pięknymi piosenkami o miłości, tęsknocie, wstydzie i melancholii.

Again on Acuarela, the five songs in this new release are faithful to the guidelines Reynolds has conscientiously set: class, utterly elegant decadence and capricious shifting (indifferently embracing the use of soul, storytelling, techno pop or recited poetry). In "Tuesday's child" he develops a personal white version of black music, silky and romantic, and then strikes suddenly with "Banished by the Underground, Hunted by the Overground" and its shy noisiness -not because of what it says, but because of what it insists on hiding. Reynolds' then dares to go and corrupt Hal David and Burt Bacharach with "Silverblues", a swampy ballad that leads into a "what the world needs now is love, sweet love", which he turns into a choky and needy lament. "Butterbaby" starts and finishes with shy pop, but turns cheekily addictive towards the middle (Reynolds is a specialist), and as a conclusion, the song that names the album wraps Oriental vocals in misty cloud sounds. But on top of everything else -Jack and Jacques, folk and blues, pop and cheeky eighties style, there will always be the voice, the pose and the attitude of a man for whom life is music; life is also Reynolds' best way of staging what a great star he is and will always be. He deserves it.