By the time bohemian singer/poet/artist Lizzy Mercier Descloux recorded her
fifth album, 1988’s Suspense, she’d enjoyed a recording career that was as
far from the clichés of music lore as is possible, flitting between genres,
continents and collaborators, enjoying great success and equally great failure
and even stealing the final breaths of master trumpeter Chet Baker for
1986’s One For The Soul. When she came to make Suspense – reissued here as
the
final album in our series – she was, for the first time, working without her
longtime muse, partner and manager Michel Esteban, with whom she’d first moved
from their native France to New York, where it all began.
