SEVENTIES-EIGHTIES: DEUX DECENNIES DE CONCERT

Detalhes

• DISCO TRILHA NOME
• 01 01 INTERVIEW CHRISTIAN DECAMPS
• 01 10 NAIN DE STANISLAS
• 01 11 FILS DE LUMIERE
• 01 12 AU-DELA DE DELIRE - LES NOCES
• 01 13 TEMPS MODERNES
• 01 14 YEUX D'UN FOU
• 01 15 (JE N'SUIS) LA POUR PERSONNE
• 01 16 GUIGNOLS
• 01 17 CHASSE
• 01 18 FOU
• 01 19 CREVER D'AMOUR (PRELUDE)
• 01 02 PAR LES FILS DE MANDRIN
• 01 20 CREVER D'AMOUR (COIT TERMINAL)
• 01 21 CES GENS-LA
• 01 22 Crever d'Amour (Pr lude)
• 01 23 Crever d'Amour (Co t Terminal)
• 01 24 Ces Gens-L
• 01 03 AU CAFE DU COLIBRI
• 01 04 AINSI S'EN IRA LA PLUIE
• 01 05 AUTOUR DU FEU
• 01 06 SALTIMBANQUES
• 01 07 ATLANTIS - HYMNE A LA VIE
• 01 08 SOIR DU DIABLE
• 01 09 SUR LA TRACE DES FEES


• Observações:
  Ange is, no doubt about it, the most popular of the French Progressive rock bands. It's music is based on Christian DECAMPS's unmistakable and melodramatic voice, his brother Francis's powerful organ sounds as well as on the development of energetic and intense medieval lines. The line-up invented it's own style, both epic and delirious, and that blends madness, emotions and exacerbated feelings. This poetic and typically French rock was noticeable from the band's beginnings in 1969, and then got more formal on "Caricatures", their first album issued three years later. "Le Cimetière Des Arlequins" came out twelve months before the three most appreciated Progressive rock albums of the DECAMPS brothers. "Au-Delà Du Délire" was issued in 1974, "Emile Jacotey" in 1975 and "Par Les Fils de Mandrin" in 1976. Undisputed leaders of the French rock scene in the mid-Seventies, Ange couldn't be satisfied with only a national success. Of course, foreign audiences appreciated the band.

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