Hello. As you may have see, I am rare. I do not particularly my diva, just that I miss a little time to write right now. You will also find that the articles are longer, which means that inevitably, I spend more time, the frequency of publication Suffering, it seems. I get a little too chatty, maybe, but I do not ramble, which is reassuring. Happy reading.
"This disc is his salvation."
PAUL'S Dianno Battlezone: "Fighting Back" 1986
We all have heroes in life. The most prominent are those of childhood, those of our favorite cartoons or cherished American series. It is thus a current commercial uses and abuses of nostalgia for thirtysomethings developed in their younger years. While blooming tributes to Casimir, disco, music of the 80s, Goldorak, MacGyver, and other successful television that feel like one thing: the innocence and quiet past, those who made life was beautiful before, and rather ugly today.
With adolescence, youth inevitably turns to the music of his era, one that offers him the moults FM diarrhea spewing torrents of their hearing.
My love of Rock made me dive into a constellation of groups and musicians magical talents and lives more or less rich.
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).
In short, it was the zone, the zero level of the Rock, far behind Ladies Who, Led Zeppelin, Deep Purple and Ritchie Blackmore with El Virtuoso.
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.
And then there's that incredible voice. Angry, raspy, almost Blues, while being both lyrical and Howling amount in the treble the most poignant, I think that my search took me to the right place.
I became a fan of arch-"Prowler," "Running Free" (a hymn), "Iron Maiden" or "Charlot The Harlot. "
The discovery of the second album was a new shock. "Killers" was a better product, powerful, fast and violent. Like the first, he was distilling aggressiveness of the street that had no more albums with Dickinson, mixing station and literature themes proles with unparalleled magic.
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.
Iron Maiden was then an incredible dimension, and Paul Dianno was not there for nothing. Then I devoured biographies, dvd bootlegs on this famous period with Paul Dianno Iron Maiden. What impressed me is the consistency of voice and the power of the group.
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.
The man then at the bottom of the hole, and eventually in 1986 formed a group called Battlezone, five years after his ouster Maiden (who also left traces). The man was a puppet so before creating his own group after working in the middle of Metal FM in the mid 80s. Battlezone
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.
In 1986, NWOBHM is so out of breath long been overwhelmed by the sound of evil kings of Trash-Metal that are Slayer, Metallica, Anthrax and Megadeth. Only a few groups have succeeded and became superstars, especially Iron Maiden and Def Leppard, or Grim Reaper. For others, it is sinking in the FM sound as Saxon. The Heavy-Metal English then seeks to answer the double bass drums and riffs excited the Trash in vain.
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
"Fighting Back" raises the general tone, a tone very speed-metal and some introductory blasts double bass drums, Paul's voice transforms Dianno song. The man is incredibly powerful and majestic vocal mastery. It varies with envy this rough patch, its installed in the treble and powerful tones, almost blues. There is simply better than Iron Maiden. As if that stupid riff was the ideal ground to enable him to develop his singing.
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.
The following is a masterpiece cons. It is for me the best of the disc. "In The Darkness" begins gently but slyly, with a delicate melody on acoustic guitar. Dianno Paul sings softly, and there found the tone of the introduction of flexible "Remember Tomorrow" by Iron Maiden. The sky darkens soon, and her powerful voice takes flight winner at the start of an absolute efficiency riff its rocky patch. But what is the most addictive is the lyrical content. The text is extremely close to what Dianno knew, and as such brings a personal dimension touching. One feels that he lives his words, that past returns so close, the images rushing through her head. This breath
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.
"Running Blind" is the weak point of the disc. First, because the voice is unrecognizable Dianno, too corny to be honest, because then the riff and rhythmic double bass drum is an ultra cliche of 80's Metal.
"Too Much Too Heart" returns to the mid-tempo removed, and the melody wants to be more developed, more heroic. Paul shines again with a thousand lights, at ease. This title is a successful British Heavy-Metal, both martial and powerful. The voice is an asset Dianno unbeatable, this title could fall into the dung FM if Joe Lynn Turner sang, which is fortunately not the case for us.
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.
"Welfare Warriors" is a title more appeal, which precedes a great hymn of Heavy-Rock, efficiency impeccable melodic "Feel The Rock." Well, there are many choirs such a little corner Boulogne reminds us that in 1986, but Dianno door so the song 80's this small detail becomes insignificant.
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.
With adolescence, youth inevitably turns to the music of his era, one that offers him the moults FM diarrhea spewing torrents of their hearing.
My love of Rock made me dive into a constellation of groups and musicians magical talents and lives more or less rich.
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). In short, it was the zone, the zero level of the Rock, far behind Ladies Who, Led Zeppelin, Deep Purple and Ritchie Blackmore with El Virtuoso.
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. And then there's that incredible voice. Angry, raspy, almost Blues, while being both lyrical and Howling amount in the treble the most poignant, I think that my search took me to the right place.
I became a fan of arch-"Prowler," "Running Free" (a hymn), "Iron Maiden" or "Charlot The Harlot. " The discovery of the second album was a new shock. "Killers" was a better product, powerful, fast and violent. Like the first, he was distilling aggressiveness of the street that had no more albums with Dickinson, mixing station and literature themes proles with unparalleled magic.
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. Iron Maiden was then an incredible dimension, and Paul Dianno was not there for nothing. Then I devoured biographies, dvd bootlegs on this famous period with Paul Dianno Iron Maiden. What impressed me is the consistency of voice and the power of the group.
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. The man then at the bottom of the hole, and eventually in 1986 formed a group called Battlezone, five years after his ouster Maiden (who also left traces). The man was a puppet so before creating his own group after working in the middle of Metal FM in the mid 80s. Battlezone
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. In 1986, NWOBHM is so out of breath long been overwhelmed by the sound of evil kings of Trash-Metal that are Slayer, Metallica, Anthrax and Megadeth. Only a few groups have succeeded and became superstars, especially Iron Maiden and Def Leppard, or Grim Reaper. For others, it is sinking in the FM sound as Saxon. The Heavy-Metal English then seeks to answer the double bass drums and riffs excited the Trash in vain.
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 "Fighting Back" raises the general tone, a tone very speed-metal and some introductory blasts double bass drums, Paul's voice transforms Dianno song. The man is incredibly powerful and majestic vocal mastery. It varies with envy this rough patch, its installed in the treble and powerful tones, almost blues. There is simply better than Iron Maiden. As if that stupid riff was the ideal ground to enable him to develop his singing.
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. The following is a masterpiece cons. It is for me the best of the disc. "In The Darkness" begins gently but slyly, with a delicate melody on acoustic guitar. Dianno Paul sings softly, and there found the tone of the introduction of flexible "Remember Tomorrow" by Iron Maiden. The sky darkens soon, and her powerful voice takes flight winner at the start of an absolute efficiency riff its rocky patch. But what is the most addictive is the lyrical content. The text is extremely close to what Dianno knew, and as such brings a personal dimension touching. One feels that he lives his words, that past returns so close, the images rushing through her head. This breath
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. "Running Blind" is the weak point of the disc. First, because the voice is unrecognizable Dianno, too corny to be honest, because then the riff and rhythmic double bass drum is an ultra cliche of 80's Metal.
"Too Much Too Heart" returns to the mid-tempo removed, and the melody wants to be more developed, more heroic. Paul shines again with a thousand lights, at ease. This title is a successful British Heavy-Metal, both martial and powerful. The voice is an asset Dianno unbeatable, this title could fall into the dung FM if Joe Lynn Turner sang, which is fortunately not the case for us.
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. "Welfare Warriors" is a title more appeal, which precedes a great hymn of Heavy-Rock, efficiency impeccable melodic "Feel The Rock." Well, there are many choirs such a little corner Boulogne reminds us that in 1986, but Dianno door so the song 80's this small detail becomes insignificant.
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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