Saturday, January 30, 2016

Antique - 1973 - Sincerely Antique

Sincerely Antique

01. Chaucha
02. Don't Let Me Down
03. Esta Melodia
04. Feel It
05. Taboo
06. Batuka
07. Dias Como Hoy
08. Crumbs Off The Table
09. Tu Me Acostumbraste
10. Juntos

Alberto Cuevas (percussion)
Manny Salas (keyboards, synthesizers, vocals)
Chebi Rodriguez (lead guitar, vocals)
Eddy Diaz (lead vocals, percussion)
Arturo Blanco (bass guitar, congas, vocals)

For YEARS I've been looking for this little known, obscure Lp that many consider the holy grail of Latin Cuban / Miami  garage psych. But it had eluded me for so long that I gave up hope of ever obtaining a copy. But yesterday, on my last stop at a  thrift store  that I periodically frequent, it surfaced!  This was the same store that helped me unearth RABBITS & CARROTS --the holy grail of Mexican Funk  (fetching $800+ when listed several months ago). As to SINCERLY ANTIQUE: No known copies had surfaced for over a decade, & the 2 or 3 collectors of Latin / Cuban Psych in Miami where it was pressed & distributed who were fortunate enough to own a copy that they probably purchased way back in the 1970s (it was pressed in 1973 ) absolutely RAVED about it--calling it one of the most overlooked killer Latin Acid Psych Lps of all time. Well, when I arrived home &  took it for a spin on my cheap portable record player, I was FLOORED! Absolutely FLOORED! They were right! Absolute KILLER ORIGINAL CUTS!! 9 of the 10 are original compositions by the band members. 3 of the 10 are pure MONSTER acid prog pysch instrumentals: "Chaucha", "Batuka" & the MONSTER frenetic finale "Juntos" that has to be listened to to be believed!  2 of the cuts are killer blusey hard prog psych rock with strong lead vocals: "Feel It" & "Crumbs Off The Table". One ("Este Melodia") strong vocal (in spanish) with a long prog psych / rock ending. And the long MONSTER soulful prog blusey vocal / instrumental psych "Taboo" with that screaming soulful ending ranks with the best in the genre. A couple of more tame slower numbers in Spanish round out what I consider a true KILLER Latin Garage Lp & destined to become one of your all-time favorites. I would venture a guess that if this band had formed at the beginning of the hippie psychedelic revolution (1966-67) instead of at the tail end (early 1970s) & with the proper backing & promotion, they would have made it to Woodstock in 1969 & brought down the house!!!  The acid heads & freaks would have gone bersurk! Anyway, back to this Lp. It was pressed in 1973 on the obscure FUNNY (# 502) label. (label has light writing on both sides). The album front COVER is pure PSYCH--with strange-looking Rabbits & Roosters along a winding road in a forrest with a ferocious tiger looking to attack-- flanked by HUGE MUSHROOMS with colorful butterflies perched atop...the BACK COVER contains a great B&W Cut-out COLLAGE of the band in action with some psychedelic symbolic images superimposed. The bottom (in script) contains the CREDITS that read: AlbertoCuevas (Percussion )--Manny Salas (Keyboard, Synthesizers, Vocals)--Eheli (?) Rodriguez (Lead Guitar, Vocals)--Eddy Diaz (Lead Vocals, Percussion)--Arturo Blanco (Bass Guitar, Congas, Vocals)--Joe "Electro" Rodriguez (Light Show, Cover Design, & Photography)--Distributed....Miami, Florida" COVER is still in Shrink & grades VG+. The VINYL has some scratches & grades VG (with some surface noise) but the noise (noticeable only in the slower numbers) is all but drowned out by the powerful stratospheric freakbeats that comprise the majority of songs & does not in any way detract from the enjoyment of this great & rare Lp. Stereophonic sound quality is great. There you have it. I will start the bidding at an extremely low opening with no reserve--allowing those interested to bid & determine the final value. A MUST HAVE  for the serious psych / prog psych, bluesy psych, hard rock, garage rock or Latin / Cuban psych collector. Please bid accordingly, as this one is not likely to surface again for a long time.

If it weren't for Ken Golden over at the Laser's Edge, this is one title I probably would never have heard of. We're both fans of 70's Santana influenced Latin rock, and The Antiques fit squarely in that mold. A mix of kick ass instrumentals, bluesy hard rock workouts with Gregg Rolie like vocals, and soulful Latin pop numbers similar to Malo's more commercial efforts. I like all of it, but the first two categories are more to my taste (naturally enough I guess). Not quite as powerful as Chango or Dakila, but better than many in the genre like Broth, Azteca and Malo themselves. Lots of great organ and loud guitar leads here. 1) is a great instrumental opener and shows that The Antiques mean business, with some killer organ and guitar leads. 2) is a good example of one of their more commercial efforts. It's a bit sappy, but I like it in a Malo sort of way. Like driving in a convertible low rider through East LA (believe it or not, I've actually done just that). 3), 4) & 8) represent the third and final style of the album, where the The Antiques play a harder Santana rock style similar to their first 3 albums. 5) sounds like a track lifted from "Abraxas", and is a killer. 6) is the same tune that opens "Santana III". 7) & 9) are traditional Latin pop songs, that folks from the Old Country are going to be fond of (my wife recognized them as favorites from her Mom's generation). 10) closes the album in an absolute smoking way, similar to Chango really, and makes you wish the whole album would have been like it.

Ant Trip Ceremony - 1968 - 24 Hours

Ant Trip Ceremony
24 Hours

01. Outskirts (1:38)
02. Pale Shades of Gray  (4:28)
03. Hey Joe (4:14)
04. Four in the Morning  (4:34)
05. What's the Matter Now? (2:43)
06. Elaborations  (7:14)
07. Riverdawn (3:33)
08. Violets of Dawn (4:30)
09. Locomotive Lamp (3:41)
10. Little Baby (3:01)
11. Sometimes I Wonder (3:48)
12. Get Out of My Life Woman (3:04)
GEORGE GALT gtr, vcls, hrmnca, bs
GARY ROSEN bs, gtr, vcls
MARK STEIN ld gtr, flte, bs

NB: (1) reissued on Resurrection (R1). The vinyl reissue is exact and indistinguishable from the original except for the fact that it's on dark blue vinyl and must be held to a bright light to check. If you can't see colour through it, it's probably an original. (1) reissued on CD by Anthology (Ant 2311) 1995, with a newly designed cover. (1) reissued legitimately on CD by Collectables (Col-CD-0717) 1999 but with a different running order.

Steve Detray, a student at Oberlin College in Ohio, took a break in 1966 and early 1967 to spend time in Logan, Utah with his brother. While out there, he formed a band which he named Ant Trip Ceremony after a suggestion from a local English professor who had seen the term in a novel. The phrase was a description of modern human society and Detray thought it an appropriate name for his band. Before he returned to Oberlin for the 1967/8 academic year, Steve disbanded the band but retained the name when he formed a new electric rock band at Oberlin. Gary Rosen, George Galt, and Mark Stein had been playing together in a blues band. Stein was a flute major at Oberlin, Roger Goodman was also a student, and the only non-college member was the drummer, Steve Williams, a 16-year-old local kid who had some jazz-drumming experience.

The band mainly played gigs at Oberlin and were noted for long improvisatory jams. Their album was recorded in two sessions, the first in February 1968 and the second some months later. Steve Detray was only present for the first session as he left the College in the Spring of 1968. Technical faults affected the recording: the KLH deck used for playback had a faulty right speaker and the mixdown was affected as a result with vocals sounding further back in the mix than originally intended. The producer, David Crosby, was a fellow-student at Oberlin and contrary to legend is not the David Crosby of The Byrds/CSN&Y fame. Only 300 copies of the album were pressed and sold around campus.

A blend of folk, blues, jazz and Eastern psychedelia, the album is at its best on the more meditative pieces like Pale Shades Of Gray with it's eerily beautiful snakecharmer melody and What's The Matter Now which is based on on a reflective "Goodbye Pork Pie-Hat" riff. Four In The Morning and Riverdawn are also in this lullingly insistent vein whilst Elaborations is a lengthy raga-ish instrumental with some very effective flute. Some of the covers like Get Out Of My Life Woman and Eric Andersen's Violets Of Dawn are no more than adequate, but their version of Hey Joe is much more exciting.

The band disbanded as the members left college. Steve, George, Gary, and Jeff still perform while Roger is retired from teaching college. Steve Williams later played with such greats as Clark Terry, Al Hall and Herb Lovette, whilst Rosen was a Bluesbander prior to his conversion to folk music. Goodman came from England originally.

Another World Production - 1980 - The End of the Age

Another World Production 
The End of the Age

01. I Say Hello
02. Now I Sing
03. He Is Real
04. Tomorrow
05. Tales Of Evil
06. End Of The Age
07. What Will Become
08. Lessons In Seven
09. I Pray Some Day
10. Reprise

Steven Cumber (?)
Steve Appolloni (?)
Mark Redlin (Bass) (R.I.P. 2012)
Gary Cumber (?)

All the elements of good guitar-based progressive rock can be found in this Wisconsin male foursome’s excellent hard-to-find custom. A variety of expressions gives the music a lot of depth. ‘He Is Real’, ‘Tales Of Evil’, ‘What Will Become’, the apocalyptic title track (which sounds a lot like Barclay James Harvest) and the instrumental ‘Lessons In Seven’ all check in with an artful heavy rock sound, including several driving dual electric guitar side trips (the kind DeGarmo & Key had fun doing in the early days). ‘I Say Hello’ and ‘Reprise’ begin and end the set with a lush symphonic presence – a stately melding of acoustic guitars, piano and mellotron-like string orchestration. ‘Tomorrow’ and ‘I Pray Some Day’ are gentle stirring ballads with rich acoustic guitar melodies. Quite a treasure here, housed in an intriguing Tolkienesque cover.

Anonima Sound Ltd - 1972 - The Red Tape Machine

Anonima Sound Ltd
The Red Tape Machine

01. The Red Tape Machine (5:24)
02. The Last Debutante (5:12)
03. Window On The City (4:10)
04. Metro Song (4:57)
05. Dog's Life (4:13)
06. Triangle (7:00)
07. Freedom (3:19)
08. The Roofer (4:34)

- Piero Cecchini / bass, vocals
- Lamberto Clementi / guitar
- Peter Dobson / guitar
- Velio Galazzi / drums
- Richard Ingersoll / vocals, flute
- Massimo Meloni / guitar, vocals
- Claudine Reiner / vocals, percussion

Formed in 1964 in the Italian city of Urbino, ANONIMA SOUND were a beat-pop trio that recorded four singles, including the hit single "Fuori piove", released in 1967. In 1970, lead vocalist and guitarist Ivan Graziani left to pursue a career as a solo artist, which would see him become one of the most popular Italian singer-songwriters of the Eighties.
At this point, after having recruited new members, the band changed its name in ANONIMA SOUND LTD. After the release of the single "Io prendo amore" in 1971, they became a seven-piece that included one English and two American musicians, and completely changed their musical orientation. In 1972 they released an album, "Red Tape Machine", entirely sung in English and influenced by British psychedelia and progressive rock. It's an interesting effort, featuring obvious JETHRO TULL influences: the singer tries in places to imitate Ian Anderson, and one of the main instruments used by the band is the flute. However, ANONIMA SOUND LTD. were also one of the most distinctive-sounding bands on the Italian prog scene of the early Seventies.
This album contains 8 songs around and a total time of 40 minutes, there is just one song above 7 minutes, the other ones goes from 4 to 5 minutes average. It starts with the title track Red Tape Machine, since the first vocals you will find that this is not the typical Italian band, despite it features some nice flute making that sligh folkish tone, this is mostly a psych song with nice guitar riffs. The Last Debutante is a catchy song, well actually i may say a poppish song which could have been a single hit in the UK charts of the 70s, i insist, no Italian sound over here. Window on the City for some reason reminds me a bit to Jethro Tull, this is an acoustic guitar driven song with some acid organs and nice bass lines and some flute here and there. Metro`s Song, again an acoustic guitar driven song, this time with a bluesy sound at the beginning. Then it turns faster just in order to return to the same sound as in the beginning a plain song in my opinion. Dog`s Life follows the same bluesy line again reminding me to some Tull passages, nice guitar riffs. Triangle is the longest song of the album and i think its interesting in a way, i mean it caught my attention so there has to be something there, the music actually its pretty similar to the English bands of the late 60s early 70s, so this is nothing original, but interesting anyway. Freedom actually its like the 2nd part of Triangle, the guitar sound is really similar, so are the vocals, but it suddenly becomes into a song with a happier feeling. The Roofer at last the last song of an album which lacks of originality and progressiveness, this song is maybe the heavier of them, psychedelic oriented music.

Änglabarn - 1973 - Änglabarn


01. Änglabarn 1:32
02. I Färger 2:57
03. Se På Mej 3:02
04. I Skuggan Av Ditt Brott (Tillägnad Titti) 5:04
05. En Kvinnas Dröm 3:37
06. Den Lilla 6:40
07. Frihet, Fred Och Mat 4:30
08. Tag Min Oro 3:49
09. I Lyckans Land 3:04
10. Morfar 5:47
11. Dikt Och Vers 1:20
12. Ur Drömmen (Nights In White Satin) 4:53

* Dan Tillberg (vocals, guitar),
* Sven I. Ohlsson (vocals, bass, guitar).

Acoustic Guitar – Bob Lander
Cello – Stan Martinec
Contrabass – Hans Lindkvist
Drums – Johan Dielemans
Electric Guitar, Acoustic Guitar – Igor Janco
Percussion – Björn Thelin, Hasse Carlsson
Piano, Organ, Electric Piano – Torben Kjear
Saxophone – René Gronendaal
Trumpet – Enar Jonsson, Lennart Malmgren, Rune Lindgren
Viola [Alto Violin] – Gösta Ardhed
Violin – Knud Knudsen, Ragnar Kjellgren
Violin [Electric] – Clas Palmkvist
Vocals, Acoustic Guitar, Twelve-String Guitar, Electric Guitar, Congas – Dan Tillberg

Very very rare album from Sweden, quite good singer songwriter album with a full symphony orchestra on some songs, all songs in swedish. Last song is a cover of "Nights in white satin".
~ by: Solstrimma (RYM).
Anglabarn was a Swedish duo comprised of guitarist Dan Tillberg and bassist Sven Ohlsson, both of whom sang. Their lone 1973 release, made with the aid of eighteen (!) session musicians, fairly defines the term “vanity production”. Due to a mix of different styles, recording techniques and the presence of a couple of tracks that were transparently recorded live, one gets the idea that this was recorded over the course of several years. Particularly as much of the material is rather dated for 1973, fuzz-psychedelia on one or two tracks and lots of hippie folk. The album is capped off by a lush, string-laden rendition of Nights In White Satin with Swedish lyrics entitled Ur drommen (Nights in white satin).
~ by: Progbear.

Ange - 2014 - Emile Jacotey Résurrection

Emile Jacotey Résurrection

01. Bêle, Bêle petite chèvre (5:34)
02. Sur la trace des Fées (5:02)
03. Le nain de Stanislas (4:58)
04. Jour apres Jour (5:20)
05. Innocents les mains sales (3:52)
06. Gustave & Lucie (6:27)
07. Le bouseux (3:54)
08. Ego & Deus (4:28)
09 .J'irai dormir plus loin que ton sommeil (5:04)
10. Aurélia (3:13)
11. Les Noces (8:22)
12. Parallèles amoureuses (3:16)
13. Le Marchand des Planètes (7:19)
14. Ode à Emile (6:31)

-Christian Décamps / Vocals, piano, guitar
-Tristan Décamps / Keyboards, vocals
-Hassan Hajdi / Guitar
-Thierry Sidhoum / Bass
-Benoit Cazzulin / Drums

Emile Jacotey Résurrection is not a remix of the 1975 album. As the title suggests, it's a rebirth with the actual line-up.

IT's the link between the old generation (Brezovar, Haas, Francis Décamps) and the new one (Hajdi, Sidhoum, Tristan D.) around the "Godfather" Christian Décamps...

The original version is one of my favorite album from Ange. So I was a little bit mindful when I put it into my player specially with four new songs. The result is great more than expected. Old songs are reworked in a good way (sometimes a little rocker) and the new ones fit well with the concept (with additional talking from Emile, very interestin when, you understand French).

Musicians show also all their skills with a good production...

If you don't know the Orgiginal album, this one will be the right one to listen first. If you already know the original, you will enjoy this one...

Ange - 2012 - Moyen-Âge


01. Tueuse à gages (4:05)
02. Le premier arrivé attend l'autre (4:16)
03. Opéra-bouffe ou la quête du gras (5:54)
04. Les mots simples (3:34)
05. Moyen-Age a) Un goût de pain perdu (7:55)
06. Moyen-Age b) Camelote (2:50)
07. Moyen-Age c) Le cri du samouraï (3:43)
08. Moyen-Age d) A la cour du roi nombril (10:24)
09. Moyen-Age e) Les clés du harem (3:47)
10. Moyen-Age f) Je ne suis pas de ce monde (8:25)
11. Moyen-Age g) Entre les gouttes (7:16)
12. Moyen-Age h) Abracadabra (5:18)

-Tristan Décamps / Keyboards, piano, voice
-Hassan Hajdi / Guitar
-Thierry Sidhoum / Bass
-Benoît Cazzulini / Drums, percussion
-Christian Décamps / Voice, Guitar

Ange is finally back to full form on this album. It's taken a long time but I believe that this is the best album they have done since Guet Apen's, and I would probably rank it in Ange's top three albums with Guet Apens and Au-Dela Du Delire. It has been a very pleasant surprise, and includes a near 50 minute suite on it. Unfortunately I do not understand French, but I'm sure if I did the Moyen-Age suite would be epic beyond epic, knowing Ange's track record.
It starts off with the upbeat Tueuse A Gages. A nice opener, the real magic though is when the electric guitar comes in, it has a very nice tone that unfortunately is not explored further. It a very different sounding Ange than you've come to know from the 70s. The music is definitely different, seeing that the only original member left is lead singer Christian Decamps, who also sounds quite different on this album, especially on the opening track. His voice is not as theatrical and almost sounds a little bit like he's trying to sing opera on the opener. One thing that worried me was the absence of Christian's brother Francis, who used to play keyboards, and was a staple of the classic Ange sound, but I must say that Christian's son Tristan who took his place is extremely talented and I enjoyed his playing throughout. The next two songs are a bit slower and darker, and built more around Christian's voice and the drummer, with extremely talented guitar player Hassan Hajdi occasionally breaking in with bluesy riffs, and some haunting playing of Tristan's. I have to mention that Hassan seemed quite versatile, and guitar tone kept changing throughout the album and had a very nice variety and I quite enjoyed it. The last song before the suite, Les Mots Simple, is a light upbeat song built around Tristan's bright keyboard playing. Christian's voice, though almost unrecognizable as his own, sounds almost beautiful on this song, and this is a definite a highlight.

The Moyen-Age suite begins with Un Gout De Pain Perdu, begins with dark, marching percussion, and mysterious guitar playing, which leads into Christian's very mysterious vocals, here's where you can finally see some Ange's famous theatrics. It sounds like the beginning of a long epic tale. As this song marches forward, getting more powerful as it goes, it almost reminds me a little of Magma. Each track of the suite tends not to stray too far from the main theme of the track, and some of the longer one's can get slightly tedious on subsequent listens. Camelote is very short, coming in under 3 minutes, and is another highlight. Christian voice is very emotive. It is a very fun song, and I imagine is about Camelot. Hassan has a little fun in this song. Then we have hard rocking Le Cri Du Samourai, kind of a throw away but good enough, almost had me singing along near the end though even though the only word I knew was Samurai.

Then we have longest track in the Suite and on the album, A La Cour Du Roi Nombril. This song definitely sounds the most individualistic and that it could be its own song and not a section of a much longer suite. Again we see more of Ange's theatrics with Christian sounding insane with maniacal laughter. Everyone shines on this song, with great playing done by all and it definitely feels like it's telling quite the story, even if I have no idea what it's about. It seemed to go by quickly and I listening so intently that I barely thought a minute had passed by the time it was 6 minutes in. This definitely has a spacey quality to it. A Fantastic track, another Highlight of the album. We then have a break from that long epic with the shorter Le Cies Du Harem. It sounds like it's building up to a louder faster section but when I think it's just about to change it just starts another verse. It does change about two minutes becoming a little quirkier sounding, adding violin to the mix. Still a good little song though. Some of it reminded me a little bit of The Fixx in parts but that's probably just me.

After that nice little break we go into the second longest song on the album, Je Ne Suis Pas De Ce Monde. This is to me the song that most reminds me of chanson, at least during the quieter parts focusing on Christian's vocals. However during the faster more upbeat sections of the song Hassan's guitar playing s more heavily featured and has more fun riffs. Hassan really did surprise me throughout this whole album with his immense talent. About 4 minutes in when it slows back down you can hear Christian singing along with one of the great mini soundscapes Tristan produces throughout the album before going into a nice bluesy guitar solo. This song sounds like a great journey is starting to come to an end, but isn't over quite yet. This song fades into Entre Les Gouttes, which sounds quiet and mysterious until the heavy guitar riffs break in, but they don't last for long, and about 2 minutes in we have soft nice vocals that I'm not 100% sure if they are Christian's or not, and I think it may be his son, Tristan's. This is a very powerful ballad, the only complaint I have is that it drags on. It eventually fades into ambience which slowly builds up with the drums. Another thing I haven't mentioned yet is how great the drumming work is by Benoit Cazzulini, he also surprised me like Hassan did, both fantastic musicians. It ends with powerful guitar playing by Hassan and fantastic drumming by Benoit.

The Suite and album finally ends with Abracadabra. Another upbeat light song built around Tristan's keyboard and Christian's voice. This song sounds like an end to a long epic journey, and is a fantastic conclusion to an excellent album by Ange.

One thing Ange has always done very well and is especially noticeable on this album is that I feel like I know where the story is going even though I don't understand the lyrics. This is what really made this stand out. This Ange definitely sounds different than the classic Ange but I don't think that's a bad thing, because every musician on this album was amazing, and the sound this album has is extremely promising for future release. After many years of making okay albums Ange finally hit gold with Moyen-age, a high point in their career, and I truly hope they keep make more albums as good as this. I recommend this to any Symphonic Prog fan, but I think that if you are an Ange fan you are required to get this album, one of their all-time greatest, and I'm sure this will give me much more enjoyment in the future.

Ange - 2012 - Escale à Ch'tiland

Escale à Ch'tiland

101. Ces gens là (5:56)
102. Le cimetière des Arlequins (8:20)
103. Les yeux d'un fou (4:22)
104. Le rêve est à rêver (6:20)
105. Le marchand de planète (7:37)
106. Sur la trace des fées (5:32)
107. Les eaux du Gange (5:23)
108. Neuf heures (5:31)
109. Les collines roses (3:58)
110. Le Vieux de la Montagne (7:52)
111. Couleurs en colère (7:54)

201. Les enfants du hasard (6:29)
202. Capitaine cour de miel (19:34)
203. Hors-la-loi (5:21)
204. L'oil et l'ouïe (7:07)
205. Hymne à la vie (12:49)
206. Shéhérazade (4:29)

- Christian Decamps / vocals
- Tristan Decamps / keyboards, vocals
- Hassan Hajdi / guitar
- Thierry Sidhoum / bass
- Caroline Crozat / vocals, chorus
- Benoît Cazzulini / drums, percussion

Releases information
Recorded at Théâtre Sébastopol de Lille, March 19, 2010

Ange - 2010 - Le Bois Travaille, Meme le Dimanche

Le Bois Travaille, Meme le Dimanche

01. Des papillons, des cerfs volants (7:31)
02. Hors-la-loi (5:03)
03. Le bois travaille, même le dimanche (12:40)
04. Sous le nez de Pinicchio (4:49)
05. Voyage en Autarcie (7:06)
06. Jamais seul (3:31)
07. L'oeil et l'ouïe (5:55)
08. Clown blanc (3:29)
09. Dames et dominos (3:53)
10. Collines roses (3:51)
11. Ultime atome (Anatomie d'un conte à rebours) (3:51)
12. A l'ombre des pictogrammes (6:28)

-Caroline Crozat / vocals, chorus
-Christian Decamps / vocals, piano
-Tristan Decamps / keyboards, vocals
-Hassan Hajdi / guitar
-Bruno Cazzulini / drums, percussion
-Thierry Sidhoum / bass

Ange rediscovered their prog credentials in the 2000's after,by their high standards,some less than essential releases in the 80's and 90's.This one from 2010 marks a heavier and more intense direction,continued with 2012's Moyen Age.There is not the odd vaudeville,light relief track found in previous albums,which some love (like me) and some find irritating! This release almost plays as a suite of music from beginning to end. Highlights are track 2 which rocks hard; track 7 which builds up dramatically to a wonderful symphonic climax courtesy of Tristan Decamps superb keys; track 9 which has a memorable haunting melody.I would think Steven Wilson would be an influence on this album- it has his haunting trademarks,but this is the one and only Ange- cementing their place in prog's hierarchy. It will take a few listens,but it is worth the wait!!

Ange - 2009 - Souffleurs De Vers Tour

Souffleurs De Vers Tour

01. Tous Les Boomerangs Du Monde
02. La Gare De Troyes
03. Exode
04. Dieu Est Un Escroc
05. La Bête
06. Aurélia
07. Nouvelles Du Ciel
08. Coupée En Deux
09. Je Travaille Sans Filet
10. Souffleurs De vers (Le film)

Benoit Cazzulini / drums, percussion
Caroline Crozat / vocals, chorus
Christian Decamps / lead vocals, acoustic guitar, piano
Tristan Decamps / keyboards, vocals
Hassan Hajdi / guitars, vocals
Thierry Sidhoum / bass

Ange - 2007 - Souffleurs De Vers

Souffleurs De Vers

01. Tous Les Boomerangs Du Monde (4:50)
02. Les Écluses (4:58)
03. Dieu Est Un escroc (8:15)
04. Nouvelles Du Ciel (3:16)
05. Interlude (2:01)
06. Où Vont Les Escargots? (4:19)
07. Coupée En Deux (5:58)
08. Les Beaux Restes (4:17)
09. Souffleurs De Vers (Synopsis) (3:05)
10. Souffleurs De Vers (Film) (16:45)
11. Journal Intime (2:33)

Benoit Cazzulini / drums, percussion
Caroline Crozat / vocals, chorus
Christian Decamps / lead vocals, acoustic guitar, piano
Tristan Decamps / keyboards, vocals
Hassan Hajdi / guitars, vocals
Thierry Sidhoum / bass

Two Christmas presents for the Ange fans living in Lyon. A gorgeous concert during which were played many songs from the new album and oldies (but goldies) too, true nuggets found in the rich Ange discography (by the way, the old songs were played with the original arrangements and today's brio). And a new album. I was surprised during the concert (I didn't know the new album yet at that time) by the quality of these new catchy tracks opening the set (and the album): 'Tous les boomerangs du monde' or 'Coupée en Deux' sung by Caroline. In the great Ange tradition, I enjoyed Tristan's splendid vocals once more in this new song 'Nouvelles du Ciel' closed as far emotion and quality are concerned to his version of Polnareff's 'Le Bal des Laze'. What about the rest of the album? Same excellence? Yes, indeed! First of all, some words about the cover and booklet. Gorgeous and clear, coloured and Zen. And the title, a superb pun, is an invitation to poetry, to true literature. As a good Bordeaux wine, Christian Décamps and all his band are still going strong. Ange shows they have a true musical magic, they are a real machine creating emotion. Almost all songs remain in your memory from the very first listening. 'Les Ecluses' with its multiple melodies is splendid, 'Où vont les escargots' with its delicate arrangements, sound and production (Caroline at her best) too. For Caroline is in her full bloom, more at ease in emotion. The track giving the title to the album is the only truly progressive epic, therefore with a more difficult access, one of longest tracks by Ange (16'), where the band shows again his capacity in composing such suites. Yes, Ange is a prog combo! A very good one even if as a whole this album features rather direct and traditionally formatted songs. Ange has always been a subtle blend of reality with fantasy, a bitter glance upon life and stories from dreams and imagination. In this album, it seems that reality is more present ('Dieu est un escroc'), so this is a darker album, a bit sadder than usual. Thus its emotional richness see what happens to the world and life, but finally all that remains enjoyable" seems to say the author. All Ange albums are good or even very good, that one is gorgeous. If Ange had not produced masterpieces in the past, the roots as they say, this album would be their best since there are no weak moments as the previous works featured. Yes, their best! (Olivier Sauce and Thierry - first published in Acid Dragon #46)

Ange - 2007 - Le Tour De La Question

Le Tour De La Question

01. Aujourd'hui c'est la fête chez l'apprenti sorcier
02. Le couteau suisse
03. Histoires d'outre rêve
04. Vu d'un chien
05. Si j'étais le Messie
06. Jour après jour
07. Entre foutre et foot
08. Harmonie
09. Le Coeur à corps
10. Le chien, la poubelle et la rose
11. Ces gens-là

- Benoit Cazzulini / drums
- Caroline Crozat / vocals
- Christian Décamps / vocals, keyboards and acoustic guitar
- Hassan Hajdi / guitars
- Thierry Sidhoum / bass
- Tristan Décamps / vocals and keyboards

It's always an awkward experience to see a band live in concert some 30 years after they put out the material you know and love. Such was the case with me, as I was only acquainted with their 70's output (and not even in its entirety). Still, I took the chance to go and see one of the bands whose albums I so much admire, knowing altogether that they were still a working band and the chances of seeing the classical stuff played live were slim. So I grabbed the car and drove into the heart of Portugal for the Gouveia Art Rock festival, where I had an encounter with Ange - literally. It was noon when I parked next to the theatre and went to get my ticket. Outside, laughing, smoking and taking pictures in a jolly mood were none other than the band! Flabbergasted, I couldn't find in my head anything intelligent to say - especially in French. So I didn't. I just stood there like an idiot watching the band take pictures, not two feet away from the immense figure of Christian Decamps. Eventually my friends arrived and dragged me in my numbness into the nearest restaurant, for a good lunch before the opening of the festival.

The first day was highly enjoyable and productive (I have a couple more reviews lined-up for artists who played that afternoon), but I was eagerly anticipating the night show, even if completely unaware of what I was about to see. My fears were completely unjustified - the band was tight, professional, exciting to watch and great to listen. Even if they only played three songs I was familiar with (Exode, Aurelia and Ode à Emile), the remaining set was good enough, even if they had a heavier sound, and a more conventional hard-rock approach. I left the room still shivering after witnessing such a demonstration of power. Outside, the little counter on the foyer was selling pieces of Ange to take home. Although they had they last three studio offering there, I opted for purchasing this one. It wasn't a blind purchase; I knew exactly what I was getting, after reading Erik's review some months ago. I can only say that, once again, you can't go wrong with Mr. Neuteboom's advice.

What we have here is an amazing tour de force by the band as whole, and not just the founding member Christian Decamps. This new Ange ensemble is bursting with youth in an exciting over two-hour long show. The sound of the band seems less reminiscent of the early days, adopting a more modern sonority that makes them lose some of the uniqueness that characterized them (the lack of the distinct interplay between Brezovar and Francis Decamps is obvious), while placing them on the level of more recent energic French prog like Taal and Seven Reizh. Not knowing their material following Guet-Apens, I cannot really comment on the live quality the songs the band played from their latest album at the time, ?, against its studio counterparts. I can say, nevertheless, that they sound closer to a more mainstream hard rock sound than to the glory days of progressive Ange. I'm not saying they are bad - in fact they are quite the opposite: if only more mainstream rock could sound like this!

We are thus offered the following tracklist: from their ? album, Le couteau suisse, Ricochets, Histoires d'outre rêve, Entre foutre et foot, Le couer a corps and Jazzoullis - all of these are delivered between the energetic and the delicate, accordingly to their mood. From their classic period, which I would place between the debut and Guet-Apens, the band present us with the opening track, the poem section from Caricactures; from the debut album of the same name, two songs from Le Cemitière des Arlquins, Aujourd'hui c'est la fête chez l'apprenti sorcier and Ces Gent-là, both delivered with fiery passion and artistry; from the album Au-Delà du Délire (their magnum opus, in this reviewer's opinion), they played the profane Si j'étais le Messie and the bombastic Fils de Lumière, the first being the first big ovation of the night, while the second provided space for some jamming and soloing. Jour Après Jour was the only song taken from Émile Jacotey, and it received an ethnic treatment, with the band going from French folk to world music with an Arabic twist in few minutes, courtesy of the muezzin-like chant provided by guitarist Hassan Hajdi. Songs from their post-Guet-Apens period included Vu d'un chien, a funky and fun song taken from the homonymous 1980 album, Harmonie, a nice piano-synth-guitar solo ballad from 1984's Fou!, here delivered by Tristan Decamps, and Le ballon de Billy, from 1992's Les Larmes du Dalaï Lama, where Hassan Hajdi showcases (or, better said, shows off) his guitar skills with an elaborate final solo. There is also time for some good-humoured messing around, when the bands pokes fun at Joe Dassin, in a short but amusing exercise that has to been seen and heard for full appreciation. Finally, Le chien, la poubelle et la rose, an Ange live classic, played since their early days, which (to my knowlege) does not appear in any of their studio albums. An epic track that provided a perfect closing track for this concert. Or did it? In fact, for some odd reason, the actual final track from the concert, played in the encore after Ces Gent-là, was cut off from the main film and added as a bonus in the DVD. It is the dramatic and highly theatrical Quasimodo, where the real star is the young Decamps, Tristan, showing that he is not simply Christian's son - he is an improved clone of his father's 1970's self, with a higher vocal range and bigger versatility. Another live classic which I can't seem to find on any Ange studio release, this is one of those pieces that just take you in a musical rollercoaster ride. The other bonus track is a live rendition, taken a year after the main concert, of the classic epic Capitaine Cour de Miel, which as Mr. Neuteboom states, will give you goose bumps once you see and hear Christian's remarkable acting and the sublime musical crescendo to the symphonic blissful finale.

All in all, a really great live experience, that any proghead should track down and get. The DVD film is almost perfect, even if lacking in extras. The biggest problem is the lack of the DVD highlights on the shorter CD than accompanies it (most notably Fils de Lumière and Quasimodo). On a curious sidenote, it looks as if Christian Decamps had a monumental cold that night - you can hear it in his voice at times. At a certain point, you can see him blowing his nose between songs, as well as having what seems to be a bundle of tissues on his little piano. Considering the amount of air he must had expelled during the night, it's really a feat that he came out of this concert still breathing. But then again, judging from what this concert showcases (and from what I had the chance to see for myself 3 years later), Christian Decamps might well be immortal.

Ange - 2005 - Point D'interrogation

Point D'interrogation

01. Le couteau suisse (3:58)
02. Ricochets (5:55)
03. Histoires d'outre rêve (9:39)
04. J'aurais aimé ne pas t'aimer (4:17)
05. Le cour à corps (5:34)
06. Les eaux du Gange (5:15)
07. Naufragé du Zodiaque (inclus 'le thème astral') (9:12)
08. Entre foutre et foot (2:16)
09. Ombres chinoises (6:00)
10. Sous hypnose (4:58)
11. Passeport pour nulle part (Reflux d'aubes tempérées) (4:54)
12. Quand est-ce qu'on viendra d'ailleurs ? (6:27)
13. Jazzouillis (3:46)

- Christian Decamps / lead vocals, acoustic guitar, piano
- Tristan Decamps / keyboards, vocals
- Hassan Hajdi / guitars, vocals
- Thierry Sidhoum / bass
- Benoit Cazzulini / drums, percussion, keyboards (9)
- Caroline Crozat / vocals, chorus

Guest musicians:
- Guillaume Lebowski / didjeridoo, trombone (6,11)
- Emilie Salata / flute (6,11)
- Caroline Varlet / accordeon (8)

In 2003 I witnessed Ange their second concert in The Netherlands for 30 years. I was impressed by both the renditions of their 'classic' compositions (from The Seventies) as the sound of their new songs, very fresh and modern!
Listening to this new CD again I got impressed by the way French progrock legend Christian Decamps and his band Ange (featuring his son Tristan on keyboards and vocals) manage to sound so fresh, modern and inspired. The 13 tracks "?" (on the background cover you can replace this question-mark by your own title suggestion) sound tastefully arranged and very alternating: spoken lyrics, a tight beat and modern keyboards in Le Couteau Suisse, a compelling climate featuring acoustic guitar, Mellotron waves and vocals by Tristan in Ricochets, dreamy with didgeridoo and flute in Les Eaux Du Gange, twanging guitar, female vocals and accordeon in Entre Foutre Et Fout, a powerful rhythm with propulsive guitar riffs, trombone and flute in the intricate Passeport, a catchy rhythm featuring acoustic rhytm guitarand synthesizer runs from the vintage Korg MS20 synthesizer in the alternating Quand Est-Ce Qu'On Viendra D'Ailleurs? and expressive vocals and a great finale with a howling electric guitar in Jazzouillis. My favorite is the long song Naufrage Du Zoadique: compelling and lots of tension delivering fiery guitar with howling licks.

I wonder how many progheads are up to this wayward progrock but I keep on admiring Christian Decamps his inventive and adventurous musical attitude!

Ange - 2003 Par les fils de Mandrin (Millésimé 77)

En Concert - Par les Fils de Mandrin Millésimé 77

01. Par les Fils de Mandrin (6:08)
02. Au Cafe Du Colibri (3:45)
03. Ansi s'en ira la pluie (10:03)
04. Autour du feu (3:53)
05. Saltimbanques (4:27)
06. Des Yeux Couleur D'enfant (4:07)
07. Atlantis Les Geants Del la Feme Lune (8:08)
08. Hymne a la Vie (12:26)
a) Cantique
b) Procession
c) Hymne

Bonus Tracks on Musea reissue (2006):
09. Exode (4:43)
10. Le Vieu de la Montagne (11:19)

- Jean Michel Brezovar / solo guitar, acoustic guitar
- Gerald Jelsch / drums, percussion
- Daniel Haas / bass guitar
- Christian Decamps / organ Hammond, piano
- Francis Decamps / organ special effects

This is a concert registration from 1977 documenting Ange's then latest release Par Les Fils De Mandrin. I've never been too fond of that album but this live document at least solved some of the issues I had with the studio version.
First of all, this live album has all the edge you would expect from an Ange recording. The sound might not be as thick and polished as in the studio, but to me that's an advantage. It rocks more and it sounds less aged. Another improvement is that some of the tracks are extended a bit, as such the musicians get more room to shine and the songs improve from the surplus of musical substance.
Most of the track extensions come from pieces of poetry that Dechamps recites in between the songs. They're not of much added value for me as my French these days is reduced to a minimal 'ordering food and drinks' vocabulary. But they sure don't sit in the way of the album flow.
The addition of Le Vieux De La Montagne as an encore is the true highlight here. For Ange fans that track alone makes it worth getting the album for. It was otherwise only available as a 4 minute something track on Mémo. In its 11 minute version here it's a treat, just like that other non-album track Le Chien, La Poubelle et la Rose that was released on the 1977 live album Tome VI.
This is a great live document, and a preferred choice over the Par Les Fils De Mandrin studio album.

Ange - 2002 - Zenith An Deux

Zenith An Deux

101. Nonne assistante à personne à Tanger (10:12)
102. Ethnies (3:53)
103. Le ballon de Billy (7:42)
104. Adrénaline (7:06)
105. Jusqu'où iront-ils? (8:49)
106. Culinaire Lingus (5:38)
107. Virgule (3:04)
108. Ode à Emile (3:30)
109. Sur la trace des fées (5:08)
110. Au-delà du délire (8:59)
111. Le bal des Laze (7:11)

201. Lola Bomembre (sketch) (2:32)
202. On sexe (8:32)
203. Shéhérazade (4:32)
204. Si j'etais le Messie (5:54)
205. Prélude (3:12)
206. Cadavre exquis (12:18)
207. Présentation (3:53)
208. Docteur Man (4:00)
209. Vu d'un chien (8:14)
210. Ces gens-là (6:35)
211. Autour d'un cadavre exquis (11:19)

- Christian Decamps / vocals, keyboards, acoustic guitar
- Tristan Decamps / keyboards, vocals
- Caroline Crozat / vocals
- Hassan Hajdi / guitars
- Hervé Rouyer / drums
- Thierry Sidhoum / bass
- Gilles Pequignot / violin (on Adrénaline), flute (on On sexe)
- Claude Chouchou Demet / acoustic guitar (on Virgule), guitar (on Autour d'un cadavre exquis)
- Daniel Haas / bass (on Ode à Emile, Sur la trace des fées, Au-delà du délire)
- Guénolé Biger / drums (on Ode à Emile, Sur la trace des fées), percussion (on Au-delà du délire)
- Francis Lalanne / vocals (on Shéhérazade)
- Jean-Marc Miro / vocals, acoustic guitar (on Si j'etais le Messie)
- Manu / tablas (on Si j'etais le Messie)
- Jean-Pascal Boffo / guitars (on Autour d'un cadavre exquis)
- Serge Doudou Cuenot / guitars (on Vu d'un chien, Autour d'un cadavre exquis)
- Norbert Krief / guitars (on Autour d'un cadavre exquis)
- Chraz / Présentation

Ange - 2001 - Culinaire Lingus

Culinaire Lingus

01. Jusqu'où iront-ils (8:55)
02. Cueillir les fruits du sérail (6:03)
03. Adrénaline * (4:02)
04. Farces et attrapes (2:40)
05. Culinaire Lingus (5:05)
06. Les odeurs de cousine (5:51)
07. Intérieur nuit (3:28)
08. Univers et nirvana (3:51)
09. Gargantua (5:25)
10. On sexe ** (6:32)
11. Cadavres exquis (10:27)
12. Autour d'un cadavre exquis*** (11:34)

- Caroline Crozat / vocals, chorus
- Christian Decamps / keyboards, vocals
- Tristan Decamps / keyboards, vocals
- Hassan Hajdi / guitar
- Hervé Rouyer / drums, percussion
- Thierry Sidhoum / bass

* Gilles Pequinot / violin et Cornemuse
** Gilles Pequinot / Flûte à bec, gimbarde et violin
*** Thommy Emmanuel, Claude Demet, Dan Ar Braz, Norbert Krief, Serge Cuenot, Paul Personne, Jean-Pascal Boffo et Jan Akkerman / guitar

This album is a dynamic return to top form after their classic 70's period was followed by a more commercial 80's and 90's period.this album is top progressive rock with a multitude of moods,well produced,and somewhat heavy in places. Track 1 builds up menacingly before female vocals come in at 4'31 leading to a heavy King Crimson vibe Track 2 continues the KC feel with a gentle bass intro then at 2'43 morps into a great guitar break by Hassan Hajdi and concludes instrumentally Track 3 has a wonderful carnival violin intro into an upbeat straight rocker Track 4 has a great vaudeville feel with Christian Decamps sounding like his vocals are through a loud speaker- it has a wonderful fairground feel! Track 5- the tile track- has a heavy guitar with vocal overlay intro,and a chanted vocal which leads to another great guitar/ keys chorus.Female vocals join in and the track slow builds to a great climax ( no pun intended!),but you feel this would work great live. Track 6 starts quietly with electric piano,but again builds into a cinematic mood,typical of a Bond film.There is a Gong spacey synth type outro which rounds off beautifully. Track 7 is a soft but beautifull ballad which morphs into Track 8 which has Dream Theater type guitar chords and a very King Crimson sound. Track 8 Gargantua is a brilliant rocker started with some brilliant power chords which leads again into a catchy chorus backed by more amazing keys by Tristan Decamps On Sexe is a dual vocal track which is quite effective- probably the track where that word is used most,ever,which again becomes Dream Theater like heavy,but again the greatness of Ange is their change of pace,irony and musicality. Two long tracks finish the album,the second being almost an instrumental of the first.The track begins quietly but again builds dramatically with operatic style vocals from Christian and incredible backing from the band.Majestic!
A pivotal return to greatness and an album which brings Ange full circle back into prog greats!!

Ange - 2000 - Reves-parties


101. Les piranhas
102. Approximatif Univers
103. Que deviennent les héros ?
104. Nocturnes
105. L'Orchestre
106. 3ème Étoile à Gauche
107. Quasimod
108. Les Nénuphars
109. Les sexe des anges
110. Selon Socrate et Copernic
111. Devine !
112. À bientôt sur la vie !

201. Bilboquet
202. Le rêve est à rêver
203. Présentation
204. Le soir du diable
205. Fou
206. Caricatures (poème)
207. Tout Bleu
208. Godevain le Vilain
209. Hymne à la vie

- Christian Decamps / keyboards, vocals
- Tristan Decamps / keyboards, vocals
- Hassan Hajdi / guitar
- Hervé Rouyer / drums, percussion
- Thierry Sidhoum / bass

Rêves-Parties is by far the least interesting live album from Ange. I have had a difficult ime to go through the whole of it for the purpose of this review. When you look at the tracklist, there is nothing real big to expect. Several songs come out Christian Descamps solo repertoire "Troisième Étoile À Gauche".
Actually, almost the entirety of disc one comes from this album. It sounds almost hard-rock; like what we could experience in their last studio album "La Voiture À Eau". Rather poor and uninspired. "Bilboquet" as well as "Le rêve est à rêver" com out of this album precisely. They are far from being great songs (but there were very few of that genre available on this weak album).
Fortunately the second disc will also hold some early Ange songs. I was quite enthusiast to see that "Caricatures" was featured on this live album; but I immediately have to change my mind since this "version" only last for hundred seconds. Actually, it is only a (too) fast recitation of the first part of the lyrics. What a pity to summarize this fabulous song to this masquerade.
Finally, if you want to know which ones of the songs are valuable on this double CD set, it is quite short to depict it : "Le Soir Du Diable", "Godevin Le Vilain" and "Hymne À La Vie" are the ones. Not more, unfortunately. I also would like to add that it is the third time that "Hymne À La Vie" is feautured on an Ange album. As if there are not sufficient material to choose from...

Ange - 1999 - La voiture à eau

 La voiture à Eau

01. Le Rêve est à rêver (2ème service)
02. Psychosomagique
03. Eureka
04. Bilbocquet
05. Elle fait mes rides
06. Eureka in Extenso
07. L'Eau qui Dort
08. Archimède
09. Coma des Mortels
10. Quelquefois
11. Ethnies
12. Patisonges et Mentisseries
13. Mémoires de Jacob Delafon
14. Les voleurs de clés
15. La serrure ou la clé
16. Jardin secret
17. La voiture à Eau

- Christian Decamps / vocals, keyboards
- Tristan Decamps / vocals, keyboards
- Hassan Hadji / guitar
- Hervé Rouyer / drums, percussion
- Thierry Sidroum / bass

I have had big hopes with the great Ange come-back in 1989 and their very interesting album : "Sêve Qui Peut". Unfortunately, Ange did not continue in the direction of a traditional symphonic rock in-line with their past (and lost ?) grandeur. Their album "Daï Lama" was just another French-rock album (better than their mediocre eighties production though).
Even if the family circle remains intact in terms of the amount of persons involved in the project, an earthquake has taken place in the sense that instead of Francis Décamp (a founding member), and brother of Francis, we'll get Tristan on the keys. He is the son of Francis.
We were heading the turn of the century while Ange released "La Voiture À Eau" and this time, the most obvious influence is neo- prog and jazz-rock. Ange playing this almost hard type of music is not really what I was expecting.
The opener is probably one of the heaviest Ange song so far and not at all my cup of tea. Things are seriously improving with "Psychosomagique Génie" a truely symphonic number : complex rhythm with off-beat tempo. Lush mellotron and again, wonderful and theatrical vocals. A great tribute to Leonardo Da Vinci. The next song is made of two distinctive parts (although very short) : a noisy and hard intro and a wonderful and very subtle second half (again very symphonic). As if Ange wants to break with its symphonic image but not quite want to change completely from direction.
With "Bilboquet", the mood is 100% heavy / jazzy oriented. It sounds as if Ange wants to play Michel Jonnaz (a famous French singer, rather jazzy). Not really convincing, I'm afraid. After this orgy of noises, it is good to relax with "Elle Me Fait Des Rides". Very subtle piano and crystal clear vocals. Interesting lyrics as well. Press "Next" to skip the instrumental "Eurek[a". It should be an hymn to the great discoveries of the human being, but is only interesting (again) with its second half. As if Ange could almost only write half songs.
"L'Eau Qui Dort" is a mellow and insipid jazz ballad. "Archimède" is another tribute to a great Greek mathematician and physician. This spacey song still lacks of the grandeur of its inspirer. Nice to get asleep. At least, it's one of the few prog song of the whole. Back to the mix of jazz and symph rock with "Coma Des Mortels". Still, I am absolutely not convinced in this musical direction.
When Ange reverts to its roots, it is almost to propose mellowish songs like "Quelquefois". Boring, my friends...Like the hard- rockish "Ethnies" again improving slightly with a nice keys break in the middle. The naïve and folkish "Patisonges Et Mentisseries" is only valid for the play-on-word of its title. Press next.
Same play-on-words concept for "Et Gandhi L'Indou Dit Tout Doux". Not possible to translate this one. Strongly influenced by Oriental music (India, would you believe !), it is not worse than many of the other songs available here. "La Serrure Ou La Clé" holds very sexual-oriented lyrics and is only interesting therefore. Am I vicious ?

Ange - 1995 - Un P'tit Tour Et Puis S'en Vont

Un P'tit Tour Et Puis S'en Vont


01. Rituel / Retour aux sources
02. Godevin le vilain
03. Les longues nuits d'Isaac
04. Si j'étais le Messie
05. Ballade pour une orgie
06. Exode La bataille du sucre
07. Fils de lumière Au-delà du délire
08. La gare de Troyes
09. Là pour personne Saga
10. Réveille-toi Aurélia
11. Sur la trace des Fées
12. Ode à Emile Le ballon de Billy
13. Le vieux de la montagne
14. Aujourd'hui c'est la fête chez l'apprenti-sorcier
15. Le soir du diable
16. Le cimetière des Arlequins
17. Vu d'un chien Hymne à la vie
18. Ces gens-là

- Christian Decamps / vocals, keyboards
- Francis Decamps / keyboards, voice
- Jean-Michel Brezovar / guitar
- Gérard Jelsh / drums, percussion
- Daniel Haas / bass

This is a whole concert (2CD) of the 1995 tour, it contains "Au dela du délire" in his entirety and most of the classic tracks of Ange : "Sur la trace des Fées", "Ode à Emile", "Aujourd'hui c'est la fête chez l'apprenti-sorcier", "Le soir du diable", " Le cimetière des Arlequins", "Hymne à la vie", "Ces gens-là" are perfectly played by the re-united line-up of 1974, and the performance is full of emotion because it was the farewell tour. Note that this double CD is a very limited edition, nowadays you'll find it divided into 2 single CD ("Rideau" & "A Dieu") Essential.

Ange - 1995 - Rideau!


01. Au-delà du délire
02. La gare de Troyes
03. Là pour personne
04. Saga
05. Réveille-toi
06. Sur la trace des fées aga
07. Ode à Emile
08. Le ballon de Billy
09. Aujourd'hui c'est la fête chez l'apprenti-sorcier
10. Le soir du diable
11. Le cimetière des Arlequins
12. Vu d'un chien
13. Ces gens-là

- Christian Decamps / vocals, keyboards
- Francis Decamps / keyboards, voice
- Jean-Michel Brezovar / guitar
- Gérard Jelsh / drums, percussion
- Daniel Haas / bass

recorded live in Lille and Mulhouse May 1995

This is the "commercial" version of the double album "Un P'tit Tour Et Puis S'en Vont".
Several average songs of the band are featured, like "La Gare De Troyes", "Saga", " Là Pour Personne", "Réveille-toi !", "Vu D'Un Chien" and "Le ballon de Billy". If only less of these ones would have been featured, not too much damage should have been done, but they represent almost half of the songs of this album.

As usual, the intros available here are rather representative of Ange's fame in the French territory : "You are travelling on the good train and in the appropriate compartment". The one of friendship which reigns between us. I believe it is an eternal feeling...And even after death, friendship remaind the caviar of love".

Fortunately, several great songs will save this album : "Sur La Trace Des Fées" and "Ode à Emile" which were the best two songs from "Emile Jacotey". "Aujourd'hui C'Est la Fête de l'Apprenti Sorcier" and "Le Cimetière Des Arlequins" : two essential numbers from their third studio album. The latter is particularly well rendered. Very expressive of course. Totally theatrical like Christian could be. The end is completely chaotic and fully Crimsonesque.

Just before the final number, Christian Descamps will introduce each member of the band. After the last one, he will say : "There is one missing : Jacques Brel". And here we go for "Ces Gens-Là".

Ange - 1992 - Les larmes du Dalaï Lama

Les Larmes Du Dalaï Lama

01. Les Larmes Du Dalaï Lama (6:04)
02. Le Ballon De Billy (5:19)
03. Tout Oublier (5:16)
04. La Bête (6:23)
05. Bonnet Rouge (5:07)
06. Nonne Assistante À Personne À Tanger (8:35)
07. Couleurs En Colère (5:38)
08. Les Herbes Folles (7:26)
09. Les Enfants Du Hasard (5:43)

- Jean-Michel Bresovar / guitar, chorus
- Christian Descamps / vocals, keyboards
- Francis Descamps / keyboards
- Robert Defer / guitar, Gimmick, chorus
- Jean-Pierre Guichard / drums
- Daniel Haas / bass
- Eric Toury / programmation, percussion

After having returned to their roots with their previous album "Sève Qui Peut", ordered by the French government for the ceremonies of the 250th anniversary of the Frenh revolution, Ange had to confirm. Like most of the bands I have reviewed so far, I have have been suffering quite a lot during Ange's eighties work. So, it was quite a surprise to discover "Sève". Only could I hope to get another good Ange record with this one.
Of course, we won't get a masterpiece like in their early days ("Caricatures", "Au Delà", Guet-Apens") but we are well above their extremely poor production from "Vu D'Un Chien" through "Tout Feu Tout Flamme". Since I am the only one on this site to have had the courage (and believe me I needed a lot) to have reviewed all of these albums, I can only be thankful to Ange to have continue their work and produced "Les Larmes Du Daï Lama".
Compositions are definitely more on the prog site. Nothing as such as "Moteur!", "La Gare De Troyes" etc. What we get here is of course a more rocking than progging Ange, but still : several songs are really cool. The title track of course, "La Bête", "Couleurs en Colère" for instance.
Lyrics are of course not on par any longer with the past ones. But who could align greater and crazier lyrics as Ange has done ? Nobody, I guess. The typical example being "Nonne Assistante À Personne En Danger". An incredible play on words, absolutely not understandable for a non-French native speaker (sorry guys...). We revert to the anti-clerical atmosphere of the early Ange. They also make a bit fun of the French colonial policy. The mood is rather anti-establishment. Hurray !!!
I wouldn't recommend this album to any newcomer to Ange to start with their work. Nonetheless, it is by far superior to their extremely poor eighties production. My favorite song, along with the title track is probably "Couleurs en Colère". A slow-beat rock song with complex and ambiguous lyrics.
There will be some disco beat songs, unfortunately like " Les Herbes Folles". But, hopefully this song will transport the listener into the prog mood as well as the hard-rock one. All in all, it is not a bad song. The closing number is very much rock-oriented.

Ange - 1989 - Seve Qui Peut

Sève qui peut

01. Aimer / haïr (7:55)
02. Vivre avec le coeur (4:58)
03. Les plaisirs faciles (4:16)
04. L'or, l'argent et la lumière (7:12)
05. Briser la glace (5:32)
06. Les amours-lumières (4:28)
07. Non !! (3:56)
08. Grands sentiments (4:20)
09. Sève qui peut (8:06)

- Christian Decamps / vocals
- Francis Decamps / keyboards
- Robert Defer / guitar
- Jean-Michel Brezovar / guitar
- Jean-Pierre Guichard / drums, percussion
- Daniel Haas / bass

We are heading now the end of the eighties. Ange produced extremely poor albums during this decade. The year of this release is a very special one for France. It is the one commemoration of the bi-century of the French revolution. Founding members as Brézovar and Haas are back in business and I guess it is a very good sign.
The band has always been rather anti-establishment (catholicism, politics) so it was quite a surprise that they were asked by the French government (Mr. Chevènement) to produce an opus about the French revolution.
I guess that the exreme popularity of this band in France only made this possible (and potentially their need to substantial financing).
When you look at the back cover and all the subtitles of each song; displaying incredible play-on-words (only understandable to French speaking persons, unfortunately) one might think : maybe we'll get another great Ange album (after all those horrible ones).
The opening track is rather promising. Crazy lyrics as they ought to be during their early years, heavy keys (somewhat reminiscent to ELP) are ways better than their poppish/disco sound of their recent productions.
I do not know what was the final purpose of this order from the French government, but I really do not care. At least it will be the opportunity for Ange to come back to its roots and as a die-hard fan of the band, I can only be pleased by that.
Don't get me wrong : this album is not on par with their great seventies production but at least Ange is back on track. Only this fact should please any prog fan, because this band although extremely underrated (mostly because of their incredibly complex French lyrics).
This album will hopefully bring some hope about future releases.
Ange will produce some really good songs here : "Aimer Hair", "Les Plaisirs Faciles" (especially for its lyrics). "L'Or, L'Argent Et La Lumière" is IMHHO (in my humble and honest opinion) the best song of the whole album. Fully symphonic, emotional. A song like Ange produced in their earlier albums. What a great feeling for me !
This is the reason why I will stick to my policy review. I want to review almost the entire catalogue of the bands and not only their best ones (it sounds too easy for me). This have lead to a lot of disappointment of course because it always hurt to just tell the truth about some of your preferred bands (Genesis; Yes, ELO, Heep, Kansas, Tull etc.). But when it is bad, I have no option : I just tell it is bad.
When a band produces a good album out of the blue, I am just like a child discovering the world : happy, happy, happy. And I am overwhelmed by this feeling with this album. At least some decent work !
This remind me a recent comment on a thread posted by Eric on the forum about the craziest experience to go and see a band far away from home. Well, maybe I'll go to Paris in November to see their "Olympia" show. This band has produced so many great albums that I am sure that I will just feel like the child dicovering the world I have just mentioned.
The poetry of "Les Amours-Lumière" is just enormous. Another great Ange moment. At this time of the album, I really wonder why the hell this band has released so many poor albums for such a long period and all of a sudden release a much better one. Mystery.
The only weak song by its beat (because the lyrics are completely irreverent) is "Non!". Extremely erotic (and I mean it) these lyrics are on par with their greatest moments (the early seventies). I know of no bands going that far in their "sexual" approach. But this is the typical French (and Belgian as well) way of life. So funny and devastating at the same time.
The good news, my friends is that the great Ange is back. Hopefully they will keep on with this quality.
You have understood that I will be quite generous in my rating with this album. I would rate it seven out of ten but since this is not (yet) poosible on PA, I will upgrade it to four stars (adding one star for the lyrics as I have done already for some other Ange albums). What a nice come back after eleven difficult years.

Ange - 1987 - Tout Feu Tout Flamme - C'est pour de rire

Tout Feu Tout Flamme - C'est pour de rire

01. Tout feut tout flamme (version 87)
02. Tout contre tout
03. Coquille d'oeuf
04. C'est pour de rire
05. Sur les grands espaces bleus
06. 3 x 1 = nous
07. J'suis pas d'ici
08. Il est le soleil

- Christian Decamps / vocals, keyboards
- Francis Decamps / keyboards, vocals
- Serge Cuenot / guitar
- M. Kessenburg, E. Saniti / chorus
- Jean-Michel Brezovar / guitar on first track
- Francis Meyer / drums, percussion
- Laurent Sigfrist / bass
- Daniel Haas / bass on first track

Year after year, Ange produced very poor albums in the eighties so far. This is their seventh studio album since the great "Guet Apens". Some miserable music has been offered to the first generation fans which have turned their back already at Ange, since the band did turn his back as well from its theatrical and great symphonic music. And with such a title, the worse could be expected for this one.
For this album, Ange recreates one very old song (1971) and updates it with an eighties sound. "Tout Feu, Tout Flamme" was a very good song (their second single). Jean-Michel Brézovar and Daniel Haas (founding members of Ange) joined for this song only. Even if the original was better, this 87 version is not bad at all.

With "Tout Contre Tout", the mood gets unfortunately back to the pure rock FM sound, but "Coquille D'Oeuf" is a tranquil song : gentle rock ballad with some nice sax.

"C'est Pour De Rire" starts as a madrigal. The text is really nice and emotional. It features a son talking to his dead father and asking him how it is on the other side. It is of course dedicated to the father of the Décamps brothers who had just passed away. The music goes from spacey to jazzy to rock. Not too bad but at times pompous and a bit too long.

"Sur Les Grands Espaces Bleus" holds even some prog elements ! The text refers to better times ("Au Delà Du Délire"). The track features some nice keys and guitar work. Of course, don't think that we are back to the level of their grandiose work of the seventies. Just above par of their most recent works.

But the nightmare will start again with "3 x 1 = Nous" and "J'Suis Pas D'Ici". Very poor French rock songs. The last song of the album (the longest one, just over seven minutes) "Il Est Le Soleil" is a mellow rock ballad for half of it and will turn into a pure rock song. Not great, I'm afraid.

What we got here is actually just standard French rock music. Even if Ange does not come back to the brilliance of their past, this album is at least not as bad as some of its predecessors.

Ange - 1987 - Tom 87

Tom 87

01. Le chien, la poubelle et la rose (thème final) (1:14)
02. Aujourd'hui c'est la fête chez l'apprenti sorcier (3:16)
03. Exode (4:21)
04. Les longues nuits d'Isaac (4:03)
05. Ode à Emile (3:28)
06. Sur la trace des fées (4:45)
07. Le nain de Stanislas (5:47)
08. Fils de lumière (4:27)
09. Le cimetière des Arlequins (11:25)
10. Tout feu tout flamme (4:38)
11. Hymne à la vie (10:20)

Line-up / Musicians
- Christian Decamps / vocals, keyboards, acoustic guitars
- Francis Decamps / keyboards, backing vocals, vocals on track 7
- Jean-Michel Brezovar / guitars, backing vocals
- Daniel Haas / bass
- Jean-Pierre Guichard / drums

What is fantastic about this live recording, is maybe not the tracklist played that night of October 1987 but more than probably the electric atmosphere generated by the band in the Zenith, Paris. Eighty % of the hall is filled (ttoal capacity : 5,000). Several opening bands (all French, except Dick Annegarn who is Dutch, but singing in French and partially living in Belgium...) for this event before the great Ange enters the stage.
Ange will consider this concert as a repetition for some things to come, because those lads have decided to continue to play together after this event. Sorry for the youngsters who have been played with the band for about ten years. According the information on the sleeve, Ange had only repeated for one week before this concert (remember, almost ten years separates this concert and their last one in this legendary line-up).

The openenig song is a very short version of an unedited track : "Le Chien, La Poubelle et la Rose". Actually, it is only the closing part of this song which is fully played on their first live album "Tome VI". Maybe the first blunder...

This album is made of eleven tracks. Six of them were already available on their great "Tome VI" (which only featured nine songs). Sounds a bit too much.

Still, the great song "Le Cimetière Arlequins" is featured and its introduction only deserves its place here. Two minutes forty seconds of the most complete delirium (it definitely shows how much they were influenced by my dear friend Peter). Not to speak about the song, of course. The greatest moment of this live record.

I would have expected more epic songs, but that's what we got : a very good and EMOTIONAL Ange come-back. At the time of release, some forteen years after the concert (something I can hardly understand), there will be an interview of Christian Descamps available in video format, telling us a bit more more about that special night.

How he thought of entering the stage like they used to do some fifteen years ago, how they will really enjoy to play together again etc. He will tell us how much he dislike nostalgy...but still; that night Ange played in front of a very nostalgic crowd. Lots of parents who have discovered Ange long before this, now accompanied by their children who are discovering this mythical prog band.

Ange - 1984 - Fou!


01. Le yeux d'un Fou (3:55)
02. (Je n'suis) La pour personne (4:10)
03. Piège à Coeur (3:59)
04. Harmonie (3:44)
05. (He!) Cobaye (3:33)
06. Les fous demandent un Roi (5:27)
07. Guignols (3:28)
08. Guignols (La Chasse)(2:07)
09. Fou (4:12)
10. Crever d'Amour (Prélude) (2:40)
11. Crever d'Amour (4:20)

- Christian Descamps / vocals, piano
- Francis Descamps / Synthesizers
- Serge Cuenot / guitar
- Laurent Sigrist / bass
- Jean-Claude Potin / drum, percussions, drum machine
- Fred Bétin / sequences

The traditional fan of the great Ange of the seventies that I am is suffering quite a lot when he listens to their eighties production. From "Vu D'Un Chien" through "La Gare De Troyes", Ange produced rather weak (to say the least) albums.
I'm afraid that they won't release a great one with "Fou !"
Several songs have an horrible disco-beat sound "Les Yeux D'Un Fou", "(Hé !) Cobaye", while most of the others have the rock atmosphere of their previous albums. Very little prog here. Both "Guignol" are useless (especially "La Chasse")
Some numbers will have a pop/rock mood as "(Je n'suis) Là Pour Personne". Some FM music with "Piège à Coeur".
The first song being in the Ange tradition (strange ambiance and more complex structure) is "Les Fous Demandent Un Roi". It appears as a highlight on this rather weak album. But do not except a masterpiece à la "Capitaine Coeur De Miel" of course. But it is a pleasant song.
The title track is hard to categorized. Crazy I guess (as its title suggests...).
Ange will usually release some good songs (three or so) even on poor albums (except "Moteur!"). In this case there is very little to retain here. If you are keen to listen to some "special" sounds during a song, I would rather suggest you to listen to "Love On The Beat" from Serge Gainsbourg than "Crever D'Amour".

Ange - 1984 - Egna


01. C'est apres coup que ca fait mal (4:45)
02. Fais pas la Gueule (4:40)
03. Revoir les sorcieres de Salem (3:25)
04. Les dessins Animés (3:05)
05. Coeur de paille coeur de pierre (4:08)
06. Le dernier Romantique (4:20)
07. Le cul qui Jazze (5:50)
08. Tout comme dans un Livre (5:27)

- Christian Descamps / vocal
- Francis Descamps / synthesizers
- Serge Cuenot / guitar
- Laurent Sigrist / bass
- Francis Meyer / drums, percussion
- Martine Kesselburg / vocals

Egna is Ange 1984,and the music is different from their classic 70's days in as much as shorter,snappier songs with strong guitar,synth strings ( not the Vicount organ here!),and a more 80's new romantic beat. As a progressive rock album,this is not,maybe apart from the moody closer Tout Comme dans Un Livre.As an album by Ange I would repeatedly listen to - yes certainly. Love Le Cul Qui Jazze.Love Christian's voice and performance.Les Dessins Animes is another Jour Apres Jour- lovely and delicate.The final track is nearer the Ange of the classic period. So as a prog album,no - as an album by a prog band,good.

Ange - 1983 - La gare de Troyes

La Gare De Troyes

01. La Gare de Troyes
02. A saute-mouton
03. Questions d'générations
04. Va-t'en
05. Les moments bizarres
06. Shéhérazade
07. Les jardins
08. Neuf heures
09. Tout bleu !

-Christian Decamps / vocals, keyboards
- Francis Decamps / keyboards, vocals
- Serge Cuenot / guitar
- Jean-Claude Potin / drums, percussion
- Laurent Sigrist / bass

The last two Ange albums were not really prog gems. This one is on par. Unfortunately. Line-up is the same as for their previous cover (and dispensible for most of it) album.
The beat will be almost the same : a mix between jazz, pop and disco. It is really hard to listened to it in a row (I hope I will once get a medal for this). "A Saute-Mouton" being probably the worst of all (but there are so many that it might as well be " "Questions D'générations" is only saved by the lyrics, but if you not into French, the awful rhythm of the song will kill you before reaching the end of it.
The first song to be a bit different (better ?), is "Va-T'en". Jazz-rock song wich breaks the ambient and dull disco mood. But it will be back again as soon as the next starts "Les Moments Bizarres" (of which the chorus is not too bad).
"Shéhérazade" is the first good song. Great interpretation from Christian, a nice soft- rock song with great and aerial keyboards. Almost like Ange used to produce. A rather pleasant track, honestly. "Les Jardins" are also more into the Ange tradition. At least the boring disco beat is abandoned. Again, keys play an important role in this song.
Since the fantastic "Guet-Apens", Ange did not produce a lot of songs of this caliber so, even if it does not compete with the great Ange songs, it is very much welcome here. "Neuf Heures" is a bit chaotic but also holds some romantic passages which are not too bad.
When I saw that the closing number clocked at over nine minutes, I thought that there was maybe hope to get back to the great Ange epics. But an epic is not only a matter of lenght. And this song, even if at times it sounds not too bad, is far from being a masterpiece.
As in their cover album "A Propos De", the listener will have to wait for more than half an album to start listening better stuff. But I can tell you that to bear the first three tracks of this album is truely painful. Most of the rest is average to good, so it is absolutely not an album to start with (even if you can get it for cheap).
"Caricatures", "Au Delà Du Délire" and "Guet Apens" remain the reference for me and I can only advise you to listen to these ones. "La Gare De Troyes" remains an anecdotal episode in their long career.