by Dean Carlson
Picture a world where each and every French dance band was unflinchingly bad; where every Air or Cassius or even Phoenix never existed since every homegrown, starving musician looked to somebody like ATB instead of St. Germain. Luckily, this is but a piece of fiction. Because Ludovic Navarre created such a saintly pseudonym, employing deep house, tittering breaks, and down-tempo attitudes that -- in over-simplistic terms -- virtually invented the entire French house movement that has crossed over more times than a Diana Ross impersonator. The question is, does being first make you any good? Taking cues from acid jazz and its chin-stroking underground, songs like &Deep in It& or &Street Scene (4 Schazz)& seem to shyly respond, &yes.& It's only the preponderance of an odd sense of a Frenchman aping American black music that starts to cause the most alarm. The loose jazz excursions such as &Sentimental Mood& carries all the emotional weight of a sewing needle and the choice of blues samples (while being years before Moby even caught onto the idea) feels contrived. The album may exude an atmosphere of a musician discovering a new genre hybridization, it just doesn't quite reach the maturity of a fleshed out idea. A landmark album? Yes. An album that lacks the loveliness of an Air or the inventiveness of an Etienne DeCrecy? Also, yes. Boulevard has been looked upon as the &essential& Revolver or What's Going On or Dig Your Own Hole piece of French house fans' record collections. It's only a small indignity that the music itself rarely reaches such heights of its comparisons.