FRANCE INTER OR THE RETURN OF CENSORSHIP OWN
but I'm having trouble expressing myself on the political subject. Not that I'm not interested, but I get carried away quickly, subjects are legions of frustration lately. Nevertheless, I felt the need to evoke the dismissal yesterday of Stephane Guillon of France Inter, as well as Didier Porte.
a time when the people see its benefits disappear like snow in the name of the sacrosanct savings (safety reforms, pensions, privatization of public services to big companies ...), while banks and businesses plundered the state coffers with the consent of the Government, these two men had a glimmer of protest.
Guillon, as holder, was not that funny. We taste or no sense of irony and provocation, but these two were mostly a breeze of political protest. Basically the left, intelligent, they did not hesitate to point a pen on the worst acid mediocrity from our leaders, making a mockery, but with a band of upstarts virulence to balance of some major financial powers.
literally rotten to the bone, no longer ashamed of anything, our political contrefichent of our problems. At worst they deign to be interested in a little campaign, but really only to the views of figures for forbearance from the last three elections. Thus, judging the case Woerth, cigars Christian Blanc's apartment Estrosi, cumulative pension-salaries of elected ministers Alliot-Marie Boutin, who Bachelot or by feeling their € 15,000 month, Fascists Besson ... debates. It is obvious that the government, with lessons on moral rigor is totally fucks our mouths.
And what about when one considers that the exemptions from charging companies are paid by Social Security (hence the hole, which is precisely equivalent to its annual expenses), banks, architects and beneficiaries in 2009 Gift Sarko 50 billion of our money. And do not talk about the flu, the carbon tax which we never knew what it was used specifically for the environment .... Stephane Guillon
and Didier Porte dismantled carefully, with great intelligence, but also a bit provocative all these mechanisms, with humor but also accurately all through all these scams official, and this with more panache than any journalist.
And no doubt that it bothered him. It highlighted the insults, "butt-fuck Sarkozy," the "head of weasel," all this came out of their context. But this is only a pretext. Although their words were cold and sometimes scathing, but it was the answer to the cynicism of our policies, much more violent than those few humorous. Ultimately, in terms of "insults", Laurent Gerra should be pilloried, by telling the worst horrors to characters he mimics. And then Anne Roumanoff, it is also spicy with Drucker.
But then, from these two, the political analysis is not the level of Guillon and Door. They tried to denounce their humor through the system somewhere and tried to create a power-cons who seem, however small it may be, disturbing.
The irony there, is that it is Philippe Val, editor-in-chief of Charlie Hebdo, who was fired. He who revels in freedom of expression and to be left, all that is tragic. And it is even moral support, because ultimately, a leftist can not not having dismissed two left for comic ideas. Only here, in this world, people wanting to advance independent corporation are not welcome. And Guillon and Gateway are the two martyrs of the media stream ambient fascism, on her own, the crease on the trousers and sleeves shirts (brown). And the worst part is they have no support in the name of political correctness. My friends, there will be time to make the revolution.
but I'm having trouble expressing myself on the political subject. Not that I'm not interested, but I get carried away quickly, subjects are legions of frustration lately. Nevertheless, I felt the need to evoke the dismissal yesterday of Stephane Guillon of France Inter, as well as Didier Porte.
a time when the people see its benefits disappear like snow in the name of the sacrosanct savings (safety reforms, pensions, privatization of public services to big companies ...), while banks and businesses plundered the state coffers with the consent of the Government, these two men had a glimmer of protest. Guillon, as holder, was not that funny. We taste or no sense of irony and provocation, but these two were mostly a breeze of political protest. Basically the left, intelligent, they did not hesitate to point a pen on the worst acid mediocrity from our leaders, making a mockery, but with a band of upstarts virulence to balance of some major financial powers. literally rotten to the bone, no longer ashamed of anything, our political contrefichent of our problems. At worst they deign to be interested in a little campaign, but really only to the views of figures for forbearance from the last three elections. Thus, judging the case Woerth, cigars Christian Blanc's apartment Estrosi, cumulative pension-salaries of elected ministers Alliot-Marie Boutin, who Bachelot or by feeling their € 15,000 month, Fascists Besson ... debates. It is obvious that the government, with lessons on moral rigor is totally fucks our mouths. And what about when one considers that the exemptions from charging companies are paid by Social Security (hence the hole, which is precisely equivalent to its annual expenses), banks, architects and beneficiaries in 2009 Gift Sarko 50 billion of our money. And do not talk about the flu, the carbon tax which we never knew what it was used specifically for the environment .... Stephane Guillon and Didier Porte dismantled carefully, with great intelligence, but also a bit provocative all these mechanisms, with humor but also accurately all through all these scams official, and this with more panache than any journalist. And no doubt that it bothered him. It highlighted the insults, "butt-fuck Sarkozy," the "head of weasel," all this came out of their context. But this is only a pretext. Although their words were cold and sometimes scathing, but it was the answer to the cynicism of our policies, much more violent than those few humorous. Ultimately, in terms of "insults", Laurent Gerra should be pilloried, by telling the worst horrors to characters he mimics. And then Anne Roumanoff, it is also spicy with Drucker. But then, from these two, the political analysis is not the level of Guillon and Door. They tried to denounce their humor through the system somewhere and tried to create a power-cons who seem, however small it may be, disturbing.
The irony there, is that it is Philippe Val, editor-in-chief of Charlie Hebdo, who was fired. He who revels in freedom of expression and to be left, all that is tragic. And it is even moral support, because ultimately, a leftist can not not having dismissed two left for comic ideas. Only here, in this world, people wanting to advance independent corporation are not welcome. And Guillon and Gateway are the two martyrs of the media stream ambient fascism, on her own, the crease on the trousers and sleeves shirts (brown). And the worst part is they have no support in the name of political correctness. My friends, there will be time to make the revolution. 
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And as far as to time, some of them marked my mind. Thus, the Who remained for me the epitome of the rock band when I was also mad about Led Zeppelin. The big guitar hero Ritchie Blackmore was for me which I collected albums with passion, amazed front of his black and shadowy personality, touched and whose incredible never left me speechless. And then there was 
Steve Marriott, I am convinced he is the greatest singer of English rythm'n'blues of all time. I liked his temper, his way of screaming the blues as if his life depended on it. A bit like Robert Plant to elsewhere, but his tone was followed by a roaring voice sharper, more feminine in a sense, starting the third album (also very tasty bite). I developed a passion for everything he went out, even more questionable. And I loved his proletarian vision of things, this struggle every moment to defend its mix of Blues-Rock and Soul nasty. 
And then there was Paul Dianno. Lovers in a dimly lit Heavy-Metal know who I mean, that is the first singer of Iron Maiden. Yes, Bruce Dickinson was not the only singer of Our Lady of Iron, although his talent, either as singer or as a lyricist, is undeniable. 
Yet when I was a teenager, Iron Maiden to me was "Fear Of The Dark" in 1993, and these guys in jeans black mold-cans (they say skinny now) and sneakers rising, with the castrato singer singing on a tractor (yes, yes, look for the clip, you will pay a good slice). 
Persuaded, I do not know why, as Iron Maiden could not have been just that to become a myth of Heavy-Metal, I started looking early discs. So I discovered that their discography dating back to 1980, and they even existed since the late 70s sacrosanct (their first single released in 1979 became an obsession for me), which was so they could be good one day. 
And when I bought "Iron Maiden", their first album, it was a vamp. The sound is rough, brutal, harsh. The stage pictures are dark, dark, violent. I note in particular that there is another singer, one Paul Dianno, which I can distinguish a photo that figure. It impresses me, shirtless, broad-shouldered, short hair, wearing proud, dressed in black leather. 
I became a fan of arch-"Prowler," "Running Free" (a hymn), "Iron Maiden" or "Charlot The Harlot. " 
And then there was this photo Dianno on the cover: the hair always short, sweaty, studded cuffs forces with arms, black leather pants and black shirt, he waved his arm with rage, his piercing eyes looking down on the public the other hand holding the microphone transcribing the sound of her unique voice, impressive. 
Furthermore, when publishing in DVD "Live At The Rainbow" from 1981, I could only see the unique stage presence of humans. Unlike Bruce Dickinson who made a ton on stage Dianno remained camped on his legs, right, threatening, just nasty, challenging the system with his music. 
It was spontaneous, possessed, like the sequence where he joined Dave Murray, Steve Harris and Adrian Smith in full chorus on "The Phantom Of The Opera", sweaty, banging his microphone on his thigh, wild, powerful, free. 
is all the more surprising that Dianno was fired for his drinking and drugs which induced injury to his voice, which made the end of the tour was difficult. A replay of the "Maiden Japan", and this full version bootleg, this album is great, leaving the tile number of competitors, including Motorhead and Judas Priest. 
I discovered that Paul had a life of Dianno beautiful loser, a bit like Steve Marriott, finally. He dragged with the worst Whores of Rock FM, was one of the worst projects NWOBHM supergroup, took drugs and drank like a fish, sank into utter decay once shunned by Iron Maiden. This disc is his salvation. 
He then founded in 1985 with John Hurley and Darren Aldridge on guitar, Laurence Kessler on bass and a drummer named American Trash Bob Falck. 
Curiously, Battlezone managed not to fall into the neo-slapstick trash, and requires both wicked riffs and a real sense of melody hard-metal. If 
A title, "Welcome To The Battlezone" is much better, and represents one of the highlights of the disc. A brisk pace, heavy but quick and dirty guitar riffs but almost looks like the mad funk. The melody is heroic and warlike, and Dianno excels again, brilliant from start to finish. Hurley and Aldridge are not virtuosos, but know how to find the solo effectively, without falling into pseudo-tapping demonstration, the execution speed at the time becoming the master standard for judging the brilliance of a guitarist. Steve Vai Yngwie Malmsteen at all we were overwhelmed with these solos grotesque and appalling arrogance and ineptitude sonic. 
"Warchild" returns to land more speed-metal, with a chorus typical of the period, with choirs such manly football stadium that killed some tracks from AC / DC or Iron Maiden. The song remains cool to listen, efficient and unpretentious. 
black does not fall with the next title. "The Land God Gave To Caine" is the epic play the disc. Not as shocking as "In The Darkness", he keeps taking a title and passed, avoiding the pitfalls of the progressive metal and heavy ropes of hard-rock epic. 
Voice In The Radio "is a step closer to hard-rock FM, even if its introduction biting away for a time in the phantom. Battlezone is a group but Burns and production brutal and without embellishment allows this song to the commercial structure rather be an excellent title of Heavy-Metal. 
The next disc, "Children Of Madness" in 1987, will bring some good tracks, but will not have the level of this first disc. Probably the fault to a more polished production, and energy loss along the way which will leave this record as the third and last great album by Paul Dianno. 
since 24 years have passed, Paul is almost bald, but his warm voice still resonates in small clubs, striving to sing his forgotten classics by Iron Maiden. Sad fate for this brilliant man, the miraculous voice, and knew that in 1986, seizing his second and last chance, no return. 
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Shelley Burke, bassist-singer and band leader, hiring temporary Rob Kendrick, former guitarist in Trapeze. But it is two that Shelley and drummer Tony Williams defeated back in Britain. Hope is reborn yet when the two fellows saw the excitement of the heavy metal scene of the time. 
They hired guitarist Big John Thomas, a member of a group of hard-blues English, George Hatcher Band, and recorded an EP under particularly hairy "If Swallowed Do Not Induce Vomiting. And first observation: Budgie has the balls. Because how do you explain the power of these 4 songs, except by deep frustration find themselves virtually to zero after ten years of career? 
Dice "Wildfire," and its killer riff, backed by a powerful rhythm and square, we enter the heavy metal of the 80s, but with this key seventies blues Budgie avoids falling into the power-metal container. 
And "Power Supply", published in 1980, does not help matters. Instead, Budgie is directly as the godfather of Iron Maiden, Diamond Head, Saxon and other Holocaust Tygers Of Pan Tang. Even before the NWOBHM explosion taking place in 1980, Budgie is already in the ranks, and is one of the most formidable. 
For "Power Supply" is a hard city, like the grimy steel mills of Sheffield. Electrical, wild, returned inside, powerful, it spares nothing to the listener. Obviously, there is the melodic touch of Shelley, the thin line that holds the music Budgie between menacing smoothness and absolute violence. 
This is particularly true on the incredible "Gunslinger" sweet melody sound a bit worrying it gradually becomes electrified, before plunging into a deluge of decibels and sparkling solos Thomas. Yet we can say that Budgie has tightened its music seriously, titles do not spread beyond six minutes against the sometimes ten starts. The guitar sound is tighter, too, away from the riffs and solos of iommisants Bourge. 
In fact, Budgie is now a band with songs more square. All are shaped banners proud, hymns led by riffs simple but direct and effective, and uncompromising. The atomic "Hellbender," the powerful "Power Supply", the enormous "Heavy Revolution, and the final and heavy" Crime Against The Wolrd "are real gems. But there is always the soul, fragile side, sickly, including "Secrets In My Head" and "Time To Remember". 
short, this album is a classic in the sense that music speaks to the heart of an immediate, flawless. Subsequently, Budgie will further trade concessions to stick to the sound of the time, drifting hard FM. Suddenly, "Power Supply" is really the band's most spontaneous, most vindictive, black diamond which imposed Budgie definitely be a very large group of heavy-metal. 
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