AB: Yes, it is Etienne and me which one thought of that.

NC: Why the threat? It is the threat of the threat?

AB: In this song there, there is all the play of the spirit and the flesh, of all that. But us one called that the threat because that appeared funny to us, what.

NC: Funny?

AB: Yes, it is worrying, the threat. What threatens the type? A disc which is called the threat, me I see it, I say " oh shit ".

NC: Yes, precisely.

AB: It wants what, the standard!

NC: Yes, he wants what the type?

AB: I do not know, there you give empty glass.

NC: it is the jocker, empty glass, I pass? It is the end, " the threat ".

AB: Not, one did not regard that as that.

NC: How you work, with Ground-Gil? It translates the texts.

AB: Not, it is not that. It is much more complicated. **time-out** thus, Etienne have a gift above all, it be a Latin, it be a Catalan, therefore it include perfectly the Italian and it be very important, but in more it include the core of trick, what, i.e. all that be between the line and which, in the language Latin be much more important because it be not some language pragmatic. Therefore it recreates the thing starting from the hard core. With French words which have a sound. It is very complicated. It is perhaps more complicated than to write. But me I tell you a thing, in, I do not know, eighteen years, that one works and that one made not badly things together, it never had once there that one said that does not go. Or that me I said " to not, this word there " and him he never said " ah, but this note there ". Therefore because, in the artistic song, or one is made to marry, or not. Thus, me I can play with the largest guitarist in the world, if one begins " ah not, but there, ah yes but not but there " there not. It is perhaps better the worst but me I am still worse than, but, is not necessary for him to speak. Is not necessary to speak because one emmerde much. It is of another level.

NC: How did that occur, your meeting with Etienne Ground-Gil?

AB: Ah that it is funny. Cà it is a thing, me I played " whisky with gogo " in Cannes, oh yes...

NC: You see that you made concessions!

AB: The hostesses of bar they were not badly! And thus, I thus played during three evenings, and thus I saw somebody who was every evening there, and I said " boh ". And the last day he says to me, " Sir, you do not know me, but you are very well ", and me I said " Ah yes, and well thank you and goodbye ". Thus, I did not know that him also it had begun great success with Julien Clerc and all that... Therefore after two three months, I receive a letter of somebody, and in the letter there is another letter. Without anything written, it had right writing for its pleasure three texts of the Italian French disc. And thus me I said " eh well yes ", and I put it in the drawer. And after a few months, I re-examined it, and I read for the first time. And I said " ah shit ". Ca it is not a translation, it is a thing... And I started to sing that, for my pleasure and like all the artists, I am sick of exoticism, therefore this language has for me a different sound.

NC: But you spoke French, already at that time?

AB: Yes, yes, but it is funny, it is... And thus I called it and here. And starting from the whisky with gogo and of the hostesses of bar, one started to work together.

NC: It is an old couple, what.

AB: EH yes.