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Interview Philippe Lagneaux (Rozz)



Q: Hello Philip, thank you to you to kindly answer these questions. When and how did you start playing the guitar? Did you have a "guitar hero"?

A: I started music theory at the age of 9 years, then the trumpet at 10 years. At 14, the urge to play the guitar came to me, thanks to a cousin who had asked his father to offer him a guitar in his return from the Balearics. When I saw this guitar, I flashed and I said "Dad I want to play the guitar"!

Q: Can you tell us the beginnings of the adventure Rozz? How did you meet the other band members?

A: At the end of my military service in January 1983, I started at the top to find a group, then one day in March 1983, the classified advertisements in a local newspaper, I see "Group hard-looking guitarist, repeating Denain. So I called this group and got an appointment for tomorrow. I met Marcel and Jean-Pierre, they handed me a tape two songs "the legions of demons" and "another life" and one week for dents. The test was conclusive, since I stayed up ROZZ separation.




Q: Where does the name of the group? Who found it?


A: The band's name comes from nowhere and means nothing. This is the so-called first manager of the group that was found, because three weeks after the formation of the group we had a concert to honor, we needed a name for the printing of posters. ROZZ is born!


Q: How would you describe the music of Rozz, what were your influences?

A: Rozz's music is a mix of our musical tastes are all different from each other, besides some group members did not listen as hard. I think in some pieces, we can recover the Black Sabbath, Iron Maiden and Motorhead music for voice and Vulcan.

Q: How do you work in compositions Rozz?

A: It is true that Marcel brought many of the ideas in rehearsal and we brodions together to create a title. Regarding the lyrics, they were written by Jean-Pierre.

Q: What memories do you keep the recording your first demo?

A: The recording demos and the album will remain an unforgettable memory, what else to say, we must live it!

Q: You are from Valenciennes, how was the hard rock scene and in the North in the 80s?

A: There was, fortunately for us the groups, some associations that organized the festivals, but otherwise it was very difficult to turn.


Q: You had little support from national magazines Metal as Hell or Attack, do you know why?

A: No, we must ask them ... The only magazine that spoke to us it is hell, I'm also still have the critics in the attic.

Q: How did you sign with Devil's Records, in retrospect what do you think of this label?

A: Simply by presenting a demo, they said "OK we sign." Devils still led us to record our album, but although they sweetened the way!

Q: How did recording the album?

A: At night, in Belgium at Studio Pyramide catch sounds and mixing lasted twelve days. This was a good experience, I love the studio!

Q: Why only a mini album, yet you had previously made several demos with a lot of titles that have remained unpublished?

A: Because we had no bass player at the time. So we contacted Yvon bassist TRIPLAN and to avoid putting too much of him in the head, it was decided that n'enregister seven titles.



Q: There is a trade-off 45s, do you know how many copies he was fired?

A: Yes the 45s was shot at three hundred copies intended solely to promote the album.

Q: What were the repercussions of this album? Have you had contacts abroad?

A: This album has allowed us to make a French tour in May 86. We have some contacts in Germany, Belgium and Brazil. There were about three hundred albums sold abroad.

Q: How is the concert? Have you opened for large groups? You toured with the Belgian Acid I think?

A: We have made the first parts of Vulcan, TOKYO BLADE "2 times", Blue Oyster Cult, and of course ACID.

Q: You had prepared a second album, then unfortunately it was never released. How is this done?

A: Yes, we planned to record the second album, I can even give you the title: "NOMANS'LAND. It did not happen simply because ROZZ split ...

Q: Coment ended the history of Rozz?

A: One day in June 87, Marcel and Jean-Pierre came home to tell me they stop everything.

Q: Have you kept in touch with your former comrades?

A: NO ............. except with Jackie for some time but now I've lost sight of.

Q: What did you do after the separation? Are you playing music still?

A: I have not played guitar for a while, I found it hard to accept that decision. Now I play in a band of French and international variety.



Q: A reissue of the album and the 2nd unreleased album is it conceivable to you?

A: I do not know, I'm leaving!

Q: What are your fondest memories of adventure Rozz?

A: Without a doubt the tour in May 86 and recording the album.

Thank you very much Philippe!

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Interview George Bodossian (OCEAN)

Here to finish off this week, "Ocean," an interview with George Bodossian who referred to the group's history.
A huge thank you to George for his sympathy and availability!

Q: Hi George, first What are you?

A: Hi Shreut, still more than ever in what fascinates me most: "music". I work in my studio "bodo100soundsystem" composing, directing and producing various projects for 2008: music for the picture, movies, TV documentaries, music for sports and news, album personal world lounge on Buenos Aires, which traces a initiatory journey, a personal journey, because I'm Argentine born (and yes I have Latin blood that runs through my veins!) A
back on stage with a group of Blues Rock with an album in 2008 before being prepared to attack all of rock and blues festivals in France, including work on Ocean Archives for the production of an integral on the group, news will be available later this year on my own site is currently under construction.
As you can see it will be a busy year, not to mention my work as session-man for artists and record labels.


Q: Going back to the beginnings of ocean, when did you form the band and where did the name? How did you meet Robert and Christmas?

A: The birth of Ocean is in 1974, we were now in the wake of the "progressive music", I found the name of the group one evening listening to an album from YES "Tales From Topographic oceans.
OCEAN, five letters, the same in English and French, the same meaning was obvious in any case we have taken on.

Go summarizes the first 2 periods before reaching I met Robert Noel and end 75.

-1974 1st training: Sylvain Nardelli (keyboards) John Paul Souillot (bass) Daniel Buffet (drums) George Bodossian (guitars)
first dates, youth clubs and cultural centers, concerts Caravan with the group, Julie Driscoll, Magma and pop festivals in France.

- 1975 2nd Training: Alain Baudet (former Solitude) replaces Daniel Buffet drums, the band played a lot in Paris area, very present on stage at the Gibus box fashion of the moment.
directory and composition of the group later used in the creation of "GOD'S CLOWN" End
75 separation of the group, for certain military obligations, and wear for others, I remain alone on the ship.

how to reassemble the group with a less progressive music, harder, achieve the feeling of a power trio in the footsteps of "Cream" of "Hendrix" with a hint of fusion "Crimson" and a singer " Zepelinien ".... Well, there must be really lucky, it is surely a story karma!
It suggests I go see a band, renamed Black Moon in Aspic missing guitarist by the intermediary of a mutual friend of Bernard Leroy, son shot after some party here I go "Impasse of the whale" HQ group Aspic with Robert Belmonte vocals, Bernard Leroy on drums and Noel Alberola on bass, not to mention Gerald Burnett to his backline and responsible. Presentation
we played, jammed, strong! Very good! It was great, magical, we had our group! A music
hard and progressive energy in the rough, a power-trio with a singer and what a singer!
I told myself this is my band!
I suggested to resume ocean with this new "magic potion" and benefit liabilities of the group, repertoire, dates, concerts, press and logistics.
A year of work, concerts and concerts at the Gibus Golf Drouot, hundreds of hours to the Impasse of the whale forged "GOD'S CLOWN" and greater friendship among group members, certainly our best years!

I would add that later will be replaced by Bernard Leroy Jean Pierre Guichard former drummer Angel, itself replaced by Alain Gouillard, ex-Special Edition, on the whole period Barclay.
It is fair to mention them because they are part of adventure "OCEAN".



Q: In 1976 released the first album, how goes the recording?

A: We had not a great studio experience, our first battle, but Ocean was a true war machine well oiled and prepared. We
product, taken 30 days and 15 days for mix's Family studios in Paris. Very few
overdub's, virtually live except for vocals and some re-re guitars and choruses.
The real problem was to make power and energy of the group on a magnetic tape, a real difficulty in France used to the traditional variety!
These are great moments our first steps into the world of recording, certainly those who had an indelible influence my career path.
One regret: Family studio burned in a fire and all with our Master!



Q: People often say that your first album is a mix between Led Zeppelin and King Crimson, what were your influences for this record?

A: We were listening to at the time Led Zep, Cream, King Crimson, Frank Zappa, Mahavishnu, Weather Report, Gino Vanelli not to mention Hendrix. The group had two trends, Hard Rock-a trend and a more gradual up to Jazz-Rock.
Robert loved the beautiful melodies, Queen had a reference, not to mention Deep Purple, for my part as a guitarist and composer I wanted a musical clean ocean, away from others, create our own identity, our own sonic texture, GOD'S CLOWN leaves its mark by its originality.



Q: And in retrospect what do you think of this first disc? There has been much criticized but now it has a very good reputation (deserved indeed !!)...


A: Good things are those who resist the time! He was criticized, unloved, ignored by the press French rock ... I love this album! A first album is still magical, it's always a unique, fragile, awkward, spontaneous, full of sincerity, generosity, creativity, moments which are printed in the memory forever.
I'm very proud of this album!


Q: During 3 years of Discographical signs of Ocean, that happened during this period?


A: After registering GOD'S CLOWN, we needed a label, distributor or record label. We contacted the Crypto label, the only French rock label, with Angel, Monalisa, Little Bob Story, GANAFOUL. They offered us a contract we signed, we went down France, cultural centers, youth clubs, village hall, theaters, festivals, clubs, we were in Paris at the Rose Bonbon home.
EMI publishing, after a concert at the Rose Bonbon, we propose to work with them to finalize a contract with a major label. During a period of six months we are preparing new songs, EMI produced our models, most of these titles are listed on the first album Barclay. ... Two full years !



Q: And so it signed with Barclay and the release of their eponymous album in 1980. Why then have given up singing in English?


A: June 1979 signed a contract with Barclay, July / August sessions Aquarium studio in Paris with Andy Scott.
We opted for singing in French with our publisher EMI, it was unthinkable for a French group to sign a contract in France while singing in English, we have also taken a musical direction more formatted "Hard-Rock song" is should take into account the opinion of EMI, Barclay and our management was very complex to manage and easy to break!


Q: Is it true that lépoque Barclay, it did offer a contract to Robert and he refused?


A: This is bad news! ! !
Robert had proposals much later, after the adventure ocean but that's another story ...



Q: Earlier this year 80 do you find the first part of the last French tour AC / DC with Bon Scott, how was this tour?


A: A great moment! It was their 16th month world tour of France before finishing in London, moments extreme, unforgettable experience, we learned a lot!
insurance, trust, efficiency, occur every night in front of three thousand, four thousand, five thousand people, it makes you stronger.
scene as the artist, this experience brings out the best in ourselves.



Q: Ocean also opened for Iron Maiden ...


A: Yes it has also opened for Maiden in two periods in France. Iron Maiden was at the time a vulnerable group with problems singer was their debut they were very far from the efficiency of AC / DC.
We feasted, because after our experience in Australia, we were not afraid of anyone, besides they have understood the second round because they have imposed an English group "More" forward Preview: 20hres "More ".... 21hres "Ocean ".... 22hres" Iron Maiden ".... sandwiched, the white-hot public waiting Maiden, I let you imagine, a real boxing match! It remains a very good memory.



Q: There were also concerts abroad, what was the host?


A: We felt abroad as well be it in England, Belgium, Luxembourg, Switzerland or Holland, the music "Anglo-Saxon" is part of their lifestyle, the public moves in concert to express, celebrate and participate, unless they are caught we francophones. We often hide our emotions, it is unfortunate because often an artist needs this responsiveness to give the best of himself.



Q: Then there was the live album, where and when was it registered? Why release a disc public so quickly?


A: The live album was recorded on the French tour (March, April, May, June 1980), Barclay Mobile reserves the Rolling Stones to catch the band on several dates in the best conditions with Mick Mc Kenna sound, moving back from the tour Eric Clapton to join one of Elvis Costello.
We were a little disappointed with the production of our latest album, despite the quality of the securities, it reflected poorly on her and the group energy on stage, do a live uncompromising revealed the group's performance, we obtained Agreement of EMI and that of Barclay and imposing on us one side studio and one side live ..... I really preferred a live album in its entirety !..... thus A + B.


Q: How does a French tour at the time, what was the average attendance and have you felt supported, with enthusiasm from the public?


A: We were a team of fifteen people on the tour, vehicles, sound, lights, technicians, roadies, managers for the time .... it was a very heavy production.
We were between 500 and 1500 seats depending on the size of the rooms and the concert, outdoor festivals, city or other events ... Festival of Humanity, Châteauvallon Pantin, Olympia, Bobino ....
the public in its majority Ocean knew we were doing an average of one hundred and fifty concerts a year, we felt their support and encouragement to each service group.



Q: And what was the support of the media (radio, local press, television)?


A: The local media always present on our trail, local radios and radios Ocean program without problems, we have made numerous regional television and a dozen national television, the Service coupon Barclay was doing his job, it was really hard at the time for a group of Hard-Rock to be aired on national television, moreover we have been censored by the utility in a special holiday " Live Provins "presented by Michel Drucker because of a sentence in" Aristo "I quote" my ass on the dresser ", I would find this TV never aired!
not forget the French press which has been conspicuous by his absence and his spirit of demolition.

Q: There is a passage from ocean to the TV Rock n 'Roll as we can see on the youtube ( http://www.youtube.com/watch?v=f36aFiA7Z8Q ). Do you remember this show (called "children of AC / DC") and do you know if there are other videos of Ocean?


A: I remember this show, Ocean has not existed for a few months, we are in 1982, so the timing of this episode comes after the formal separation of the group, the house was bought by the Barclay Group Polygram Universal today, they do not renew the contract of Ocean, poor negotiations by a management too greedy and far from reality, management has fractured the group two, the two missing are replaced, and here we are in the program "Children of AC / DC with battery roadie on drums and a guitarist (Benny Soyan) instead of me playing one of my songs! From there it's another story .....
Ocean made a dozen national TV broadcasts ("Dimanche Martin", "Drucker", "It's even better after noon" story on our tour to the "INFO TF1, 20hres on the 3 ... etc. + regional TVs, plus a video directed by Captain Video), all those moments will soon be on "youtube.com"



Q: In 1981 fate the third eponymous album that is still, why?


A: Recorded in London, a magical moment, the group in its best form, a beautiful picture, a top production, a sound of hell ...... it !.... OCEAN . that add more?!
anyway that's what we thought.



Q: Coment going work within composition of ocean?


A: The creation or composition is a lonely job, I brought my ideas, songs, melodies, riffs, gimmicks, as part of our rehearsals, when one of them was unanimously group set to work, Robert took care in general melodies, rhythmic bass and drums, the guitars for me. For the rest, structures, arrangements, production was a team effort, the final step was to play the new title on stage, it allowed us to correct and rectify the situation by the public reaction.



Q: At that time the group is on top, not only the album is excellent but it is selling pretty good, it even begins to speak with an English version, what happens there ?


A: 80,000 albums, according to figures Barclay, everything is better, walking tour, the British press talks about it, the radio stations play and the group is on top!
Barclay receives a proposal by a U.S. radio station who proposes to turn the U.S. over their entire distribution circuit, but must be an English version, which is mandatory for the U.S. market, and handle all our travel expenses. Barclay has preferred to invest in its catalog of varieties Balavoine, Lavilliers or other singers on the French territory, after all, in France we made music for not much, I think we have missed an episode that could have incredible change the future of group ... finally in France in thirty years, only two groups received a real career plan: Trust and Telephone. You really cling to rock in France!



Q: Exactly what were the reports that had with Ocean Trust? In an interview with Best you said that in France there is room only for the former, "if the Trust is hard, no one has the right to make the hard", it was really the case? How did you feel?


A: I have known Norbert Krief the beginning of our adventures one another, we've been friends a long time, the first concert of Trust Olympia was done with the backline of ocean, we had no special relationship between our groups, we followed all our way home in the whirlwind of success and hard work in us. We felt a sense of bitterness about the rock press, the Best interview was just the feeling of wanting to tell them, but after talking a bit more rock in your pages in France! Appraisal: four albums, 150 concerts a year tour AC / DC, Iron Maiden Tour, Olympia, Bobino, The Palace, Pantin, report to news TF1 Ocean ... etc, total, not a single page for Rock & Folk and Best for two pages on our entire journey. It took 20 years for Hard Rock magazine to reprint the latest album by Axe Killer proclaims I quote, "national monument" I remember we watched with Robert by giggling, telling us "it is our karma!"


Q: What brings you to finally leave the group in 1982?


A: Going back to that time, Barclay depends Polygram Polygram does not renewed the contract and does not want to hear about our management, the group is worn out, tired, in the dumps. When everything is off, everything becomes complicated at a glance and without going into the tedious, it was out of the question for me to continue with the same ocean management, therefore, fracture, and the other part is leaving.



Q: Meanwhile Robert and hang Christmas Ocean and finally released a new 45s album in 1983 but promised never happen, you know what happened this time? I can not explain this mess, how can a group that the success and obvious talent can not find support?


R: Meanwhile Robert and Noel still cling with the same management ... but the group that had success and talent is no longer the same, to produce an album should be foremost think, dial, realize, create artistic material, the means to finance it and above all be in good company!


Q: Do you know if Ocean has made some concerts in those years?


A: An opening for an Anglo-Saxon Mutuality, I was in the room that day was a strange experience to hear his group in the audience!



Q: In 1986 you're back in Ocean duet with Robert, but again the adventure lasted only a single time ...


R: End 83 Robert part of Ocean and there we go back to your question "Is it true that at the time Barclay, it did offer a contract to Robert and he refused?" but it must make way!
Is it true that in 1983, a record company wanted to offer a contract to Robert?
Yes, and that the management of ocean, which has intervened and stopped him to sign! Disgusted, Robert is gone!
We met with plenty of fun, and we started working together again for other artists, compositions, arrangements, achievements, meetings. We were at the time of the maxi 45rpm and rock fm, we composed "Just at the end of the desert" was later re-recorded for Sony Music, was simply the pleasure of being together and not forming a group, this desire will come ten years later.


Q: What did you do then? Forgive me this question a little trivial but is it true that you did the soundtrack of porn movies in the 80s?


A: In my case from 1983, I invested in serving others as a musician, arranger and producer. Eventually I built my own recording studio and I composed music for the picture, feature films, documentaries, generic ads, illustrations and music actually I made the soundtrack a few porn movies late 80 early 90 from a host of other productions. But to return to Ocean we are all, except Christmas, stayed in the music world: Alain Gouillard became the drummer HFThiefaine subsequently that of Louis Bertignac, Mickey Finn, The Blues Makers, Gerald Pernet our engineers and fifth member of the group supported with all our technical staff for many years the sound of HFThiefaine, Toure Kunda, Johnny Cleg, Renaud among many others.


Q: And what about Robert?


A: After "Just at the end of the desert" we work together on other tracks: Harem, Dying to Live, 3 in the morning, all unpublished. Robert consist of securities for him, but health problems interfere with his work, adding to that a heavy and stormy sky on his love life. I have in my archives a few demos and a very nice walk, there is nothing else to my knowledge.


Q: There is talk of finally Ocean in the early 2000s because you see appear on a tribute album to Trust with a superb cover of Your Last Act. How have you been asked to be part of this album and decided the song? It is an excellent choice, Robert's voice gives me chills with every listen!


A: There is talk of Ocean in 1987 new version of "Just at the end of the desert" for Sony Music, 1998 reissue of GOD'S CLOWN "by the label Mantra FGL, 1999 Releases" REVOLUTION HARD ROCK Flight 1 + Vol 2 "with the songs" Liar "and" By dint of yelling "and the reissue of the last album the Barclay + live tracks always Axe Killer FGL, then in 2000 CEO Thierry Wolf FGL we seek for the tribute to Trust we decided the song with Robert, I think we made the right choice.



Q: At what point did you decide to restart the group or was it that no part of this drive?


A: 2001 / 2002 we find the desire to restart the group with Gilles Polvé on bass and Alain Gouillard our friend on drums, we find the same feelings, the same desires, the same energy, we decide then prepare a new album and back on stage.



Q: The adventure is unfortunately end in March 2004 with the death of Robert ...


A: The adventure ends violently ..... what about ...... Robert we miss you .....



Q: Do not talk about good memories, can you tell us some?


A: I remember, it is unnecessary so long a Dec. 31, we spent an extraordinary moment, songs, music, memories, love, friendship, affection, a sleepless night, sunny eclipse upside down!
Concert Châteauvallon with marine portavion Nimitz and U.S. 7th Fleet .... what a concert! Tour AC / DC.....Bon Scott in our lodges a drink with Robert, even Bon Scott encouraging us during our concert behind the backline ..... recording the album in London with Tim Frieze Green, Denis Weinricht, 60 days and 60 nights ..... incredible Julio Iglesias in the show "Champs Elysees" in our boxes we talking about football and rock 'n' roll ..... a concert in Nice with Iron Maiden, Scorpions and More Ocean all in the same hotel, I let you imagine .... reporting for the newspaper of TF1 with Patrice Drevet in Britain ending in a mega fight in the public record of the day ......... Guy Lux and Dany Saval giving it to myself and Robert Price the best song for Pop Rock "Just at the end of the desert" we pissions laugh ......


Q: I understand that you prepare a little something in honor of Robert for next year?


A: The idea is to combine a maximum of archives, photographs, sound recordings, unreleased songs, movies, live performances and moments to an integral over two periods, first that of "GOD'S CLOWN" , then the period with Barclay's debut album was never released, with a max bonus and two titles in my archives to finish if I can recover the voice of Robert multitrack recordings, I'd add to that the film sessions " Your Last Act "in the studio, it will work but it's a long way to pay tribute all participants from near and far from the ocean adventure for those who loved us and especially for the unique voice of Robert Belmonte.
I add that I am looking for any audio, photos, videos, super-8 or other media about the group from 1977 to 1982.



Q: George, thank you very much for answering these quick questions!


A: Thank you Shreut!

Ds Game Like Poptropica

Ocean - TV report (video)

Continuation and end of videos Ocean: Here is an excerpt from a newspaper TV TF1 where you can see rare images Live from Ocean and a group interview by Patrice Drevet. Thanks to George

Bodossian!

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Ocean - That leaves me time (2 videos)

Here are 2 new videos Let me time

Bodossian Thanks to George!

Lacrosse Gloves Sizing

Ocean - 3 French TV clips (videos)

Bodossian Thanks to George for these documents !!!!!

What You Say? :



Liar (excerpt):



Let me time :

Does Areopostal Do Drug Test

Interview Erix (bite)


Q: Hello Erix. When and how the group has been formed Bite?

A: Bite formed at the Lycée d'Argenteuil in 1981. At the time Arnaud was on guitar, vocals Pascal and myself on bass. Then, Frank soon joined the group in 82 for the battery. None of us had the slightest musical experience, so we borrowed quite a process but Punk Metal plating over our references. The basic idea was to produce a metal hyper-speed, very energetic, just by putting a lot of creativity and avoiding clichés of metal bands. The same year, Pascal died under tragic conditions somewhat. In 1984, has replaced Thierry Arnaud (left to study in the province) to the same guitar with a second guitarist at the time we finally left quickly. Both had several experiences of metal bands. The main pieces of the album were designed at that time. Also in 1984, we met Thierry Didier, whose musical influences were very different from ours, but has nonetheless been seduced by the project and decide to take the role of singer, whom I had previously assumed Acting there. Between late 84 and early 85 we decided to strengthen the guitar and Loran (ex-Metal Gods) has replaced Thierry after a fairly long cast. Loran has really brought what we were looking at the guitar.

Q: What were your influences ?

A: To summarize, say a mix between Motörhead and Discharge (English hardcore band). The German umlaut (Umlaut) on "U" bite is also a direct reference to Motorhead. Of course, we also appreciate the new metal bands and thrash like Slayer, Exodus, Megadeath, Metallica and especially Venom.

Q: How do you ?

A: We will not a single method. Sometimes we start with a text on which we asked riffs, sometimes the opposite. Most of the songs were composed in rehearsal, in common. The main objective was to play something extreme, without copying anyone, going to the boundaries of playability, the risk of crashing.



Q: How you get the idea of amending the text of Baudelaire?

A: Honestly, the idea has emerged quite naturally, without a second thought. If you absolutely had to find explanations, to post, say the poets Baudelaire is cursed and condemned in their time, as understood by most and recognized by few. Also say that he knew to bring modern ideas while having a solid foundation. Finally elegance Nature allowed him to express his total lack of class world in which he lived, and his frail humanity through research experiences extremes. "Acceleration Process" part of this modest approach, in its way. Several poems from "Fleurs du Mal" was a nominee, "The irrecoverable" was imposed by its format, which lent itself to musical setting, and whose words "sounded" good metal.


Q: How did you been signed by Devil's?

A: Our manager made a beautiful job, it must be said he was familiar with this medium. However, before signing with Madrigal / Devil's records we considered other possibilities, Mausoleum, I think. Types of Devil's were very clean, everything was easy once we had agreed.




Q: How did recording the album?

A: It was a difficult experience and fabulous at the same time. We did not used to a considerable saving. We should have pre-record the album on a 4-track before going to Studio, it would have avoided the problems of implementation. In addition, Frank had just replaced his acoustic drums electronic drums. His game was so fast that we needed to manipulate the drum sound so well put it in the sound space and leave room for other instruments. The sound of his drum machine was fine in rehearsal. In contrast, here was a nightmare during the sessions at Studio Garage. Moreover, sound engineers in France were not really accustomed to Thrash and it took some time to understand how it was appropriate to record this new style. Maybe we should have the record in one take and then add parts of songs and solos, so as to preserve the energy of the group?
We learned a lot during these sessions at Studio Garage. Left to grieve some, take advantage of it in passing to break a myth: the bands have never been accelerated. Anyone who saw us play real know that we did not need that.

Q: Have you given concerts?

A: We have very little played in concert. I think that's what should have happened after the album, we were loans, but the group broke up faster than expected. We had to play 1 or 2 times in public, before recording the album, especially with a group of Heimat Loss hardcore Argenteuil.

Q: A second LP was planned?

A: After the first album, a fan in the U.S. has offered to come record in New York. We had no money for such a trip, or even new songs ready. After the split, Loran and I've continued to write songs for Sting, in parallel with another project more Jazz-Rock (Obsession). We worked at that time essentially home-studio with a drum machine programmed to replace Franck (if it ever was possibleJ). After our experience with the registration Acceleration Process we had corrected all the little teething problems, these new songs were really good and powerful. They were simpler and more efficient than the first album, with a much better sound, better control, and always so much creativity.

Q: When and why did you split?

A: bite was an extreme and demanding project. Some disappointment was created after recording the first album in particular because of the sound of the drums and also singing. I think some did not have the courage to put this or had wanted to explore other musical avenues.
and Didier Franck went to create a more conventionally rock with synths, etc..
Loran and I continued to bite on one side and another Obsession, a group more Jazz-Rock, more musical (and more commercialJ) until money troubles forced to leave the province Loran .

Q: You was not aware of the reissue of the album (co between labels and HellHeadbangers American Records Nunslaughter Records), what do you think?

A: I think the job has been done is excellent, it's really a nice surprise that I discovered by chance in a forum on the metal. I'm naturally disinclined to my own past, I do not keep photos of me and I had almost never listen to that album since 1985. It was really funny experience to replay 22 years later with new ears. I think in hindsight it would have just as little for this album is really huge. I also think that we were perhaps a little too far ahead with this type of music in 1985, it goes better now surely. At the same time, I'm glad to see that the reissue will have the same positive and negative reactions at the time.


Q: What were your relations with other French groups of the time?

A: We had little contact with other French bands of that era, probably because we were too different in style. That said, we still good relations with Demon Eyes, who were in the same corner that we (and who also have adapted text of Baudelaire) and Vulcan (for their authenticity and generosity to Motörhead).

Q: Have you had contacts abroad?

A: bite was a little known abroad (notably in Scandinavia, Japan and USA, etc..), But we have not really had much contact, apart from with fans.



Q: Do you know what happened to the old band members?

A: I never saw after Didier the split. I continued to see Loran after his return to the Bordeaux region, but we gradually lost touch. But I am still in contact with Frank who is a childhood friend.

Q: Do you play always music?

A: I played a lot after the split of bite in many bands with different styles (metal, Jazz, Jazz-Rock Fusion), which was compatible with my student status at the time. I totally stopped playing around 1989, when my job responsibilities have become way too involved. I started to play again around 2003, it's hard to have to relearn almost everything we could play. I intend to never stop and continue to play in any style I like, including fusion Metal / Funk (genus Infectious Groove, the second group of Suicidal Tendencies, or TM Stevens and others).

Q: Finally that you withdrawn from this adventure?

A: bite was an adventure short but intense. We created what we wanted, without copying, without trying to please. I understand the strong reactions that followed the album, I also understand why, for some, this album is almost cult, even if not perfect. Play songs Bite procured sensations very enjoyable. It was a beautiful project, with great people in the group and all around, and that leaves me a taste of unfinished (and bitterness) in the bottom of memory.

HellsHeadbangers Records

Sew In Weaves Fringes,bangs

Blasphemy - Live Free 2007 (video)

BLASPHEMY in rehearsals (August 2007).

Enjoy !!!!!!

Thank Blasphemy and Dominique.

Polaroid Captiva Film

and Dynamite Society!

Here are 2 excerpts from the famous episode "Last five minutes" where one could find the members of TNT (including Farid Medjane).

Biography of TNT on France Metal Museum .

I / L inspector Menardeau takes a course of Hard Rock:



II / On stage at the end of the episode:

Kates Playground Foot 2010

Pub! Interview with Patrick

Limonade!

ROCK-FORT Show & BASE Prod present:

PARIS METAL FRANCE FESTIVAL

Sunday, January 13, 2008 from 14h30 to 23h


Paris (75) / La Locomotive

Rates: 23 € presale - 25 €

Buy locally on your site Digitick.com or Fnac.com

hours crossing groups: *
9:30 p.m. to 10:45 p.m.
ADX 8:05 p.m. to 8:50 p.m. BLASPHEMY
7:00 p.m. to 7:45 p.m. KILLERS
6:00 p.m. to 6:40 p.m. NO RETURN
5:15 p.m. to 5:45 p.m. Still SQUARE
16:30 - WITCHES
5:00 p.m. 3:45 p.m. to 4:15 p.m. DEMON EYES
3:00 p.m. to 3:30 p.m. ROYAL BUBBLE ORCHESTRA

(*) These times are for illustrative purposes only Indicative for the establishment of the festival!

The festival's myspace: http://www.myspace.com/paris_metal_france_fest

Swollen, Red Hot Elbow

Bonnifet (Steel Angel)


shreut and Interview by Duby on 08/10/2007.

Q: Hi Patrick, thank you for answering some questions. When and how did you start practicing the guitar?
A: I was about 13 when my sister gave me an electric guitar has batteries with 4 strings. From there I discovered the music and I already spent long periods in front of the instrument even though I knew nothing. It was rather occupation but I've never forced to take a guitar in hand.


Q: What were your first influences?
A: I have a brother and sister aged more than three or four years, so my influences were guided by their musical tastes. Every day, I listened to Deep Purple, Slade, Pink Floyd and the pop of the early 70s.


Q: you remember your first band?
A: My first band was like many musicians, consisting of high school buddies, including a drummer and two guitarists. At that time, we saw not too much need for a bassist. Of course we did just that again: Status Quo, Deep Purple, Led Zep ...


Q: How met musicians Steel Angel?
A: I met Jean-Paul, the bassist, by integrating the band (rock) in which he played, and we quickly realized it lacked pace. In fact we had the same desire to make hard. Then he met me Freddy, the drummer, he had known for a while. We stayed a long time at three and at that time, I knew High Power and soloist Eric who worked with Michael, our future guitarist. Eric told me for a while that we should play with this musician. Upon his arrival, Michael turned the group thanks to his technique was far superior to mine. All we needed was a singer, and again, we were fortunate that Michael Patrick knows who later became our singer.


Q: Where does the group name?
A: In Bordeaux, there was a tradition that was that much of the local groups had their name starting with ST. (Standart, Stilletos, Strychnine, Sto, Stalag, Stand By ...) we, it is pure chance. This is Michael and Pat who have found the name, and we all passed. It is common today but back then, it sounded good, and later we will see that the name matched the picture that was given on stage: half angel, half heavy ...




Q: When you started , you were much closer musically to High Power? What is your relationship with them?
A: It's a great question. There was a slight tension between Patrick Malbos singer of High Power and Michael, our guitarist. In fact, they do not know but did not like too: it's like this ... I was the neighbor and friend of Patrick and we got along very well both. I have experienced situations quite cool with it ... For example, there was a slight physical resemblance between him and me and the end of concerts, fans were directed at me believing talk to Patrick and vice versa. I must add that High Power is the best band I've seen on french scene. I was, like many, marked by the disappearance of Jojo, their drummer, and Patrick, of course. The day of his funeral, when I arrived at the church, there was a significant number of fans, and because of our likeness, people looked at me insistently, what troubled me. I will keep a very good friendly and nostalgic memories of this group.


Q: You participate quickly compile French Connection, how have you been selected?
A: Everything came a series of events: First, our manager (Philippe Geneste, drummer of Soul Over) went to Paris with a demo three songs we had recorded. It came across in the shop "Remi music," and played it. Remy gave to a journalist from Hell Magazine, Chritian Vinot, who made a very good review in the monthly. From there, the compilation and the first album were quickly chained.


Q: Can is the signature at Devil's, what do you think of this label?
A: At that time, and age that we had, we were very happy to be signed by a record label. Devil's Record had already signed other french groups, known more than us. By integrating this label, we seemed to get a foot in the family ...
can say many things about this label, but it has helped bands like us to become famous in France and across borders. We, the musicians were busy with problems of composition, equipment ... everything contract, money, promotion, etc. ... I do not mind. It would be different today ...


Q: Did you do demos before recording the album?
A: Yes , one of three pieces that is sought today. There are two previously unreleased tracks including a fairly heavy, which is called "Spread your wings metal" (like "Neon Night" to agree) that I loved very much. I do not know for what reason it is not on the album!


Q: The first album, the band's style is very detailed, so much so that it would be easy to make several pieces into one, what do you think? And how was the work of composition within the group?
A: Each group has a unique way of working. At home, Michael and me bringing a draft piece, already well advanced, and the whole group working on it. It was for music. Pat undertook to find the melody, and worked an English text that we then submitted.
Our songs are often the same pattern: intro verse chorus break and above. It is these passages that we spent the most time. It is also on scene at the moment we prefer. After the break came the solo and the end.



Q: The cover of this debut album is superb, that it was responsible?
R: C is the brother of our friend who was lighting a photographer, who had the idea to build this angel, who has photographed under different lights. He sadly passed away ...


Q: What were the repercussions of that album in France and abroad?
A: The first allowed us to let us know, especially after the criticism of Hell magazine, people were eager to listen. I received letters from Central Europe, Connecticut, England ... it rewarding that people appreciate and recognize your work. Each album has sold approximately seven thousand copies. I do not know what to make of these figures. What was important for us at that time was the concerts.


Q: Exactly, why spend your concerts, it was apparently the highlight of Steel Angel ...
A: is really what I loved most.
There are two kinds together: when you go in the first part and when you go head poster. There is a difference if you spend the first part, you do not play long, you do not have room, the sound is obviously less good as the group that goes after so ... we've had both.
We worked pretty outfits, our manager who loved the United States to influence us that we have this look that was fashionable (this time) I think there was a lot of energy on stage and during the heavy pieces, we played much on the poses, attitudes.
Each concert is different and has its own atmosphere. Oddly it's outside of Bordeaux that we have done our best services. We did not like playing at home. The public, when he saw you once, is less surprised the second time.


Q: Compared to some other groups French, it seems to me that you had little support from the press, what do you think?
A: There are several reasons for this: first, we were not in Paris and that was really the biggest handicap. Then if the journalists turned to the province, there was high power which occupied the place before us. And he had ways that we did not get to know more. The production of our album was not famous. I'm sure if we had the sound of the album of Pisa, the fallout would have been greater.


Q: I understand that Steel Angel enjoyed cons supported by pretty amazing tennis player in the person of Haitian Ronald Agenor. How did you do meet him? And how was he helping you?
A: Ron was friends with our manager. Gifted tennis (the only player to have made 6 / 0 to Lendl in a set at Roland Garros), he was also on guitar. I spent many moments with him in our room and he was talented, sure. When he saw that our second album, we needed money, he has not hesitated to finance it.



Q: For the second album you sign in Syndey. Why change a record label?
A: is our manager who took care of that. I do not know the reasons for this change.


Q: This second album is more melodic pieces with buildings more "conventional". What do you think and why such a choice? how did the recording of this LP?
A: I think the second album really different from the first. Personally I find the second less "homogeneous" as the first. At least there's something for all tastes ... What a shame to have such a sound. We left Paris with the idea that we would have a good sound, Unfortunately it was not the case. It often takes in the French productions, the sound is coated with reverb ... it's true that french sound engineers discovered this style of music. Before Trust, there has never been recorded or popping sound when they were foreigners who were recording engineer.


Q: In 1986 you participate in the Sun festival in the arena of Bayonne. Do you remember this concert? It seems to me that your performance was filmed, right?
A: Despite the lousy sound, the microphone of the sound that was transplanting my amp was placed in front of an empty chamber and I played half the free concert in front and back on stage, it is our fondest memory. Many fans made the trip and there was an incredible atmosphere. The concert was actually filmed and I think people are trying to make a montage and there may be visible soon. Very good memories of our relations with other groups and in particular with which we rejoice Josuha fortnight later in Albi.



Q: The rest of the story of Steel Angel is a bit fuzzy, what has happened? I think you left the band around 1987?
A: I announced my departure the group after a concert we did in Agen. The group found me a replacement and he did a few days after a concert at the Locomotive in Paris. One of my regrets for not playing that day, but my decision was made. After this the unit has stopped.


Q: What did you then?

A: Listed music, nothing, I compensated by the sport. I also had three children ... for over ...


Q: Have you maintained ties with former band members? Do you know what happened to them?
A: Apart Freddy the drummer who I think is now climbing instructor, I have all reviewed. Musically, they all stopped except our manager, Philip, who was the drummer of Soul Over and who now heads the organization Bad Concert Bordeaux.


Q: And you, what are you doing now? Are you playing music still? What are your musical tastes now?
A: I bought my son a guitar two years ago and of course was rekindled. I bought in early summer a small 8-track studio with which I recorded seven songs (songs and covers), since I bought a 24 track and a synth but I spend more time understanding the use Hardware that compose new songs. I discovered the heavy symphonic especially Stratovarius, Edguy ... so it is towards this style that I intend to lead. I actually like all that is melodic. I had a weakness for Hammerfall I've seen twice in concert. I spoke with singer and soloist, they are very good musicians and their songs are classics if they seem very well made. I also listen to classical music.


Q: The 2 Steel Angel albums have now become "cults" and are sold at exorbitant prices on the internet sometimes, what do you think?
A: I do not understand ... can they sell at these prices, I do not know. In any case it is surprising to see this enthusiasm for groups of 80's hard.


Q: There is a bootleg CD reissue made in Greece 2 Steel Angel, is it conceivable that a true born re done with your agreement with and why not some novel?
A: I do not think bands should be hard to find but you never know ...


Q: What do you think reformations of current bands like ADX, profanity, or Demon Eyes? Could we one day see a reformation of Steel Angel even for a single concert (like Square)?
A: Not is impossible, there are too many problems to resolve to raise the group. Other groups which re probably never totally abandoned the instruments. It's very nice to do it, I would have liked but we can not do everything.


Q: Finally, what are your fondest memories of this epic?
A: The day I saw my item on sale in stores and a month later when the boss's largest record store in Bordeaux made us see the sales rankings. We were in very good position, and then it does something. And a general perspective on this period, there was a Bordeaux an incredible number of groups and each concert, we were all in a good mood. In the cellars, there was a group who repeated. Sommum and was the first music festival. There was incoyable to see Black Desire (with whom I played a few times) and High Power Partner rub Individual playing in the same street! Now the spirit of this feast has disappeared ...


Q: I leave the last word ...
A: We had the opportunity to take some steps in this very closed environment. The current fashion is to the nostalgia of the 80s, perhaps there was something positive, creative in our music. With all the reality TV shows or you are without star propels you've never done anything, there is a certain lack of creativity. Yet the public is requesting. He has no choice but to turn to the past. Seen in all styles of music, summer on the beaches, there are only pieces of old retro to some. So I picked up my guitar and maybe the inspiration will come back ...

Uncensored Jav Dvd Store

"Hard Rock" by Christian Eudeline (book)

Self-proclaimed "first book in French on the Hard Rock" (forget it a little fast books Hervé Picart in the mid-80s or the recent book by Denis Protat), here's a new book on the history of our favorite music. Good news you say, nice presentation, nice iconography and nothing to spoil there are even some pages on the French groups!

What more? Well .... some discipline, damn!!

The two pages dealing with the French hard rock of the 80s (I only speak from these pages have not yet read the rest of the book) is full of blunders: "Patrick" Diamond arrives in H-Bomb for the album Attack , Zouille which has the same voice that Balavoine (the If Hex, unanimously recognized as the best heavy metal band French 80's, is set to 3 lines), Christophe Aubert forced to play with Hallyday to "survive" after the split of Warning (the poor, he must be turning in his tomb) and the ultimate, you surely do not know: Vulcan has made an album during his 20 year career and his name is The Assault! (hey, it tells me something ...). Do not look in your library, you did not that one!

Finally, the intention was laudable but the result is nothing but foutage of mouth, or a minimum of research would probably replay corrected these mistakes that are unforgivable in a book that is meant seriously!

When I think of the book on hard rock French Christophe Bailet who find no publisher in France .... by the way, are there any editors in the corner??