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Enrcglstre e:n avril 70." le premier alburr de Ma,gma paralt ]uste avant l'ete die,la rnerne anree. En de:IP~jt.

de, II·a"revolte" ce 68 dite "revolutlor de l'intelligence", la scene musicale en Firanc,e est touiours dornlnee par 18 generation ye·=ye~,sacra :1'- A.. pa"r '1•..... ISt:::e .11aposit 'iion de>: ses c hefs d'ceuvre en'II t' ,~;. t-:e des sa' cro sa ints ~{h't-::i ra d e" ~ ·IJI ~'l ".:,_-' I"~_' e: ..... I, i pa- '", "" II;" ..•• -, . aJlnignore reLes genres ImUSICa'U)(sont touiours autant cioisonnes. Ch.'8 Q'U8 C -I' solurnent les heros des, camps adverses. Pour les rockers, le plus grand c'est Presley pour Iss 'fa'Ike lUI x c'est Dylan, POIUf les premiers d'la classe ce sont Illes Beatles, pour 1'8:.5 rebelles des cours de recre les Rolling Stone's et pour lies 'fie= vreux du samedi solr James Brown, Les jazzeux, dont l'integrisme die' chapele n'est pas SaJlS rappeler l'osnacisrnc d'initie dont font tra!d'itiionne.Uem,elnt preuve les "arnateurs'' de musique classloue, affichent un rnepris total envers ces hordes d'egares Apres s'en etre pns 211 Coltrane pOlur cause de "chorus interminables' et l'avoir catalogue rnusicien ~~free~" synonyme idle "n'importe quoi", ils s'en allerent traiter IMil~e·s, Davis et sonl "blnlou elec rique" de renegat: "Lc jazzrnan qui a deliberernent tourne Ie dos a la musique die. son peuple".
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allalt accoucher de nornbreuses souris reinventant chaque rnatin 11~lle·aIIUchaucc en pillant souvent: et laborieusernent le repertoire de bluesrner depuis Iongtemps retournes La l'aronvrna: Idetaches subalternes. Cette "rock music" qui' se crovat subversive sera vlte digeree par les lois impitoyables du marketing et eclatee en autant d'eticuettes vendeuses (Psychedellque, Hard, Progressil, Glamour, Heavy, IF~MI~J Plunk" Gothique, Irash, Death, New Walve~, Garage Grunge 8,'tC. etc.). l.a grande rnesse de W'oodstio,ck de 111'!ete 69 (pe'ndant que Vander et ses cornplices fomentaient leur revolte) avant confhrne au monee des affaires, s'll le:n etait besoin, l'interet qu'il y avait 8' f~a:tterces hordes de consorrmateurs docllemcnt rassernbles en autant do trolupe"a1u'x et prets al e Ire: tondus. L.es seuls ,a fa ilre· tache cans ce marasrne conscnsuel et bier pcu lmaglnaflt etaient essertieterrerr lies Ml,others of lnvcntlon de Frank Zappa et ~~eMai,g,~ic,IBanldl de

La generation HpOpH quant ,a ene, baptisee en ju~,n '6·7'au. festival die Mloln'(.e'rey",

Captan Beefheart "absents, forcernent absents" a Mlonterey, Woodstock, _.3 Wight comme de la plupart de ces "concentrations Peace & Love", Condarnnes alia marge pair ~,etJr ttitude provocatrice et une rnusique trop elaboree, ils ne a representaient pas (encore) une veritable alternative. l'e seul dans tes sunlights "pour perpefuer 1:8 cri" etait J imi Hendrix. Le rnonde en sera vita debarrasse, iI meurt d'epuisemert le 18 septembre 197'0~

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C'est dans ce contexte que, Mag:m,a fait son a ppartlon, avec un premier album inclassable (II l'est encore auiourd'hul). Sorte die pave dans la mare ou renoncernent. "Kobara" sera recu par 'certains cornme une bouttee d'oxygene et par d'autres comme une veritable bombe a retardernent. Pour la desarnorcer certains cornmentateurs utiiniS,er,ont toutes les fice!es de leur rhetoric u:'e de valet. D'abord en inscrivant Ma,gma dans un courant de pop a la francaise plus fantasrne qu'existant et caracterise par dies dons d'irnitateurs d'~u'~le: scene anglo-saxonne elle-merne fort compromise dans la redite et Ie plagiat, Rlen ne InOUS sera epargne et les plus perturbes 58 laisseront aller aux epithetes . chique, grandlloquence, pretentlon, free, cinema, d,ej,a .'VUI, C,IQIU:P publicitaire.. ~ viendrcrt ensuite lcs lnsultes: robots, fumlstes, rldicules escrocs, ponpeux et pour finir fascistcs ~ IMem,e si cette cernlere provocation eut un tem ps son petlt effet destructe.r, iil~en faUa'it plus pOUT venir a bout d'une rnuslque ex clusivement redevable alia determinatlo-i de ses createurs et a leur farouche obsession a produire une rnusicue vivante. Ouelques erudits feindror.t Ide la , .. ' nerrun jouer comprchensif et complice en placant M agrna a rru-c h ,', en t r~~'Sft ~':,'O'_' Machine (pour II,e rapport au, jaz'z,?) et a K~ng Cri mson (pour lie rapport a l'energie electriq.•. ?)~ Ouo rests-t-il auiourd'hui de cos propos, de ces analvses, Ide ilu,e ces !r'9'fer,ences et d,'8 leurs a,urteurs,~21, I'h,e.ur,s' 0(.1 Magma est to,ujours ,en ,a,ct~vlte et OUI I'e meiilUeu r" InOIUS lie promet: C,hr~is,'ti'an Vand!er, e:st e'ncor1e' al ve:niir?~
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• 1'7 jlul~lllet 196,7': mort de John Coltrane. "Penoent , ._. nintemp-s John Coltrane a ,r,.,. a , la seule petsonne m 'insutttcr 18 vie. Je' vivais $'e,ul e't la p,larLltion de Ic,hacu',n de' s'es dis'qu,es etait ,mlo,n unique lie:n v at~e-c''I ;e'·~··xis'.<·t·,'e".···'·n':·~,c,_-e-- Q-uan'd if est mott. el1 ;· 19:67. J"avais dix~net/f an',s' e't /117 a'vait

Pour mol {:a ,8 beeucoup de chou. ·d' , .: .. -t- '_ , ·t' ses qUI S enonateent, teut-e ""'t···· parce re - , '.,.,. o ':e:'-· J"a-:: veis tn vieux. rt9t/a d'· ',e' iosue: a"vee .. ,t I ._ lui, Ide te voir.~ jai ete ire: d,'er;u et je ~ suis pett! eLn Ita lie' o() je peux dire que j~ai pleure Colirsne perutent deux ens. Ensuiie te-be: j:e ne ssvsls p,}us' que! tsire. J"al trevellte 8've'c oes groupe: iteliens. meis des musictens ,pa··"s·~.· ... .. ... des -' la_'J ..... ... . emeticains. avec Arthur Conley suss: un ctumteur de Rhythm & Blues. Je peux alre q:... uta cette eo.. aue-ts J"Jaitxis o pas mal de drogues eti'e! bu beeucouo $.. "' .' d'etco», coree au en (81,-'t j '"a va IS envt« de me, s "',"·cj:d··r. )':8'·· n'svsis ' e p-a,s···· ·e··n,'.LIJ'e"·_:_ e ".'.. su de survivre apres Coltrene ,a'io!rs je ne savais oes comment tsire, je n'evels " tte ····, . pe: en N,l.la··· me... mietire v' ._. b :'.It',"' e···'·' d une ··,a·:;··' ',:·:,8·····'ns·: .
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1 La UI re nt Th 'ii ba lJ'~'t m us ic ie n a utod 1d acta " pratique te piano, la guitars et lia batterie. II debute ,a la basse. .au sein du groupe 'de blues-rock Pives en co'mpagnie de ilFrancis. lMoze a I'argue at dB: Lucien Zab~JskiaJ~asZabu au chant En 1'968~ iIs 'f n ng:,gi'stre nt q tliatre' titres Ide 1m ~~qui reti'e'n,~ a " ,·,t ell 8'lrluon:,e -ee 'd' .- ""d , lez nen I'.-'t--t· - 'to" . d " L ,,'-, H'!8-.'IIyay, ., pro, uc,t,eur C h": 'Phili"psj qu~ sIgna ~egroupe sous ~enonl de' Zor'e'n glo"n"e: 's: 'Un'l aI1b,-u"m le"n" F'€""g" ;:str,e~" J~'u"I!ln - ne' ,~, ~, ,I 6····8··· .... - $JO,irClJ' . " " . .... Jama~s p~ b~· u . n sllng:eI parail'lra c: hez M '·l'~e. ··········,'ercury de: manie're ephemere et confidentielle en 1'9,69, En mali 1969'" Laufe:nt Ih~'baul!t contact,8. Chdstian Va,nder, Ens8lmlble lis repetent en duo au studio [Mathurin R.egr~~er. Deb~t ju:i:n i'llsengagent Lucien
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Noos etion: en vomsre tous te: deux ~ het nous semmes pe rt1.5' cnscun sur sa I '..t' L" pumac.Laurcn: t sur N" eu E"O'li"t '" e t mo "' "'.' ~f\.,IJa 1/ b ,I ~t.. sur r\IO'8J'8,',ed' plal7e,e's ou ,1''".'I' n yaural,·'t S plus' oe cons. C'eteit surtout un beau te 'V'!·· .... C'ets lt I'?e~'fe< 1',','9,'-"169'_. Fron cls , M"~·o" c: ·' ee ."_".' 't d' rorgue, L" ','. l'i/:'au tousnoe , ,'1. ., .' t.suren t Th" 't: , It'd"ae la·~· besse Z.... ('.'L·- cien Zebu ski) che m 'sbu M,oi j''ai toutours cberche cctte douleur, un cti. ,Avant d'ecouter Jonn tait et ele gultare if y svsit Jeen-Merc E·· -," .':."~/'dJ? j ec .... ~',;: a- US-S/~ Coitrere d'e til'e' U' j'ecouisls rerrl" Ique ,/.'1D,n app e'J8f._,it ~.i.M··· ....,Iur" ;J .... ..' . '-.' .," ",Ie Ray Ctienes avant qU'11 n'entre dans .' ' "- '" - "'", ." ,ar.re,J:!'e '-. -.- ,'orce~,N>- DU,S- sa perlo_e suuoeuse, I.. Co'h·an~al_ 9.5 t·"t· ... ;'. d ~ ;1' t: 'td ..... .' L"8. t'-Q,urne'e.s ,e,s'ter .""'" . ,p,ar +., "" · resduI: au~ morceeux comme ,A Fool For 'You, Tell jOUlOn,s d e's morce,8UX Inspires ':s ··.·U hid de Phe rosh Senoers, a vee· des ctis The Irutti au dies choses comme 98, -~" ," hysteriques~ ,Liesctents eveien: au me! C' .···t-:. I",8 premIere, n'OIS au on en.t' en _est " i~,'< " e ,:-_ ,2JJ ,I'b ~'.f"e leu' 'r' en a'rn 'fJagne,},-',ce n 'etat, pas' bo 't dait de: ens. John est errlve a point '" h' f.t" h J"'. tre:$ ada,pte. O'n' s'est fait 'vire,r:, Po,ur= M·· Je C'~1erc';,alfS C,e,tl--e C',',o,s'e ta" .ie' ---aI's .', -, . taint. il y ,(j'vaii' des ,gei,ns qui s'uivaien~ J a,1 to,_O'u}o,urs ,Ch"'" h: .'/. P'd" rna -Vie, par . erc'_eie ce qu'e j·~aipu' viv~e, ,}e n' tetais pas' ,en ,q'ul tr.ouvai'e/1t r;a in'cf.oya,ble 1'"
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'(~L)a CEtlr ,d:e ,Laurent 'Thibault a improS vis'e p·olur .Ie dessin interiet/,/: O.n ,ne lui 't' A "t avar' (Ienl d' ·.···:.e.manule., E'' ne aV8r. a'm,en'f:;1" .U b",/oc' e'f" cfe"·fa'~~t·e·"'·:.·:'(.11 ql'! I s'e'ul' ". ,-,t! ce' p·f":tJie··t'en .,.,/1'", nOIUS con'~enait. Din nOIUS am'enait Iqt/el= q'uel chose de c,onlcrelt ,Pa's'le te,mps del revoir Ie,s' d:etails· .. 1'1 fa/lait a lie,'poqLle al=
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iets min,ces let "'c,h'leap qui n a~aj,en!t pas' fa dimei,n,sio,n,. Et ,puis qu'elqu'un' a propose ce lettrage p\etlt-l~t~e ,Laurenl _ ·I.,.,I,U. .···.;ua'nd' .lei./.81· VU,~, _ ~h '00' It' DIU .sa sreur. Q-" ' '~/a'ue ~ ',: '.1 J"e' : ,0," f,ro'u >~."" j""a' v,' ..... q"u'e' _--';" J/~J: (~t.I, 1/e"': 1110U e·t· pa"s ,. a d ap,.e~.0"..r; ,peu d',e t-emps apr:es,; on . t .S lest .h'ab'itu'(~ let if' e.st IQlu8 nd m'le.me bien trot/ve,. ,Mais autant Ie .sigle ,corres'po'nd ,~A., r .., t·· '. I.· a.. ,'Vtagma, QIU.B/l~ t~.pour 18 /'",:.tt-·· '. ..:: }e ,n aJ :,e,. _.r~ge ... "h' I' P'BS b·' iiJ'lsse l_es b :ras, j'e c' ',erC,,7era'J ,. en·e·:··t'" a· c····o',re··, P···e·· ..u·t·· e·~,t're··· .,:",": I.:.. ' 1''.:. -,'.'" _ n:' e' ..··n· 'u: ·e:··· . "'n ", Icore···· .-I'~' .,' ·'r..D··-·U ,.', . .. .<....·U' t,'"~.'~.-:'v'l,.,. IU p"::lS') n Christia!n Valnder
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IMia,gma's, 'f'irst: alourn was recorded in April ~'70and released just before the summer of the same: vear, I n spite of thle so-called revoit of M,ay ',68, ,knolwln as thle l~'~i'ntenigelnt revolution", the musical scere in France was still dominated I ,"._i • .-..<!~ t' -h_ -' tles sa- '.. by . __'I, bIy- '_- e :S~,X, r_,~- pop gene' ratio' n_, rende red ,,-'<[:' cred _ '_- 'the num bier one position its masterpieces occupied ~n tbat most ho~I,Y' charts, the hlt pa raide., Mus!ical ot genres were st~~~s, ccrupartmerralsed as ever. Each clar resolutely avolccd a knolwing anything about 1,lhe heroes of t,he: opposition. For rock tans, the greatest or them ,ad was Pres,ley', for foil k-lovers, it was Dylan, for the swots and eggheads ,I the Beanes, for the plll,aytimle rebels the R,oliliing Stones, and for the Saturday night fevered ~t as James, Brown. The jazz, fans, whose fundarre-rtalis: attitudes, w ..-...•.... ' J.'_, _' I. towards _ ··,IL '~h'··e····~lr· o'--'f:: type '.' '__ music recalls som ewhat the ostracism of the initlated tradltlonally displayed ,by classica' music lovers, had nothing but scorn to pour on alH these, hordes 'Olf lest souls. They'd got at Coltrane for hls "never-ending soles" ~then classified: hi iii n as free (take' that to mean ~"any cld thl~nlg,n here); now r they were off to attack Miles and his "electric horn" as renegade, "the jazzmen who d,e,H berately turned his back on his music anc his people, ,
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,As,for the POPI generation ch rlstened as such at the, Monterey Festiva in .J une 1967'~,tlhey' were albout tOI pour fortlh a host of gir] singers WhO,Td start afresh every mornirg witlh repeated and laborious Ipill'll:ag'ing in the blues repertoire of men long since returned to tlheir lowly tasks. Ths rock music that claimed tOI be suoversve was rapicly subected to 'thle lrnplacable Illaws ot marketna and categorized under 01 host of labels wlhos,'e names 'wou'l~ld help sa'es Psycnedellc, Hard, Progressive, Glarnour, Heavy, F.MI"I Punk, Goth,i'c~ lirash~ Death, New 'Wave:J. IGaraige~, Gruingle etc. The high ml,assof summer J6,9 that Woodlstolck represented (whilst Vancer and his colleagues were brewing ther revolt) had confirmed tal tlhe world of business Of tney needed i~l)the interest that lay in fatterirg these hordes of consumers 'S'O niciel~'y rounded IUlP into flocks waiting to be, shorn. The only ones who stood out ln ths 'dec~d'edlyunlrnaginative consensua 'mlass were Frank Zappa's Mothers of
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th!o[ught.l would die. .I sieved like that for three wnotc years) two of them spent in Italy listen[ing to h[is elbums in' a tcrribe stete. Evety evening' I was' a' uttte nelarer',going ,completely under.

24

AUthis, sets the backdrop against 'w'hiiichMlagma: first a poeared with an unclassflable delbut album (stiU Uke that today). Kobafa was like a scancal throen ilnt,o, the pond ,of renunclation: some s,a'w ~itas a. whiff of oxvgen and other.s as a real delayedacton t~ime bomb. Certair critics pulled out all the, stops of th,eiiir servile rhetork SOl as to defuse it _, first: of ,a.llll, [by pllac:l~ng Ma,g,ma, ln tne French-style pop ranl,gle' (more a flgmcnt 'of tlhe lmaglnatlon fhan real). Iypical of tlhds 'trienld were the ta~e!n'ts of _t,h,ose'who lmltated th,e Anglo-Saxon pop scene, in jeoparcv at the, tim's th[rou,gh self-repetition 81Indl pl!ag·iari~s,lm. We 'were spared notihing; the most distlurlbed of the bunch went as far as epithets like sham, grandiloquent, pretentious, free, over dramatic, deia-vu, a publicity stunt.. Next carne msults such as. robots, a bunch of phoneys, ebsurd, fraudulent, pompous and to crcwn lit a.U~ Fascisrs' Even if the latter ha,d ai destrucfive effect for a short 'whHe.~ much more was needed to see the end of music that owed absolutelv ,ev,ery1hing to the determination of those who created it and meir obsessive and obstinate -insiiistenice on producing music that, was alve. .A tew ~inforimle,dscholars put on a false air of cornprehenslon and close understanding bly placirg Ma,g:ma halfway between Sioft Machine (b·y its relationship tal jazz?) and IK!n'gCrimscn (b,Y lts relationship to the electriclty of the e~nlergy?)~ 'Whl,at rernalns today of all those statements, analyses and r,e'feren',ces, ~ anc their authors - when Magma is still active ,on the: curren: scene and, as, Christiar Vander has promised" the best ls vet to come?'

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J uly ,- [9=6,7,-" ~ Death of John Cokrane.


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et that moment in my Jife~ It was 18 oretext - IIJ.. I'd' J',_,n-- F-~u _:_' - to trv ' _ d'ate 'i]: -e- -, -_ __ " _ undetstend wnet wal,s ,going' on. S'O' I L) dtsn« ena toos orugs, It ,5 0 t IOI~,er k dt k a th people did tnot too, it akin': metter... - .: ~-"It' " umu0' tne d'" .,. ,-' tn",.: :h- to' ,I·~t·i,JUS t ',-,,'.:,', t. _,e_lay, ,:,DUg~, wasn.,, ·'bl ~",Elt C: -:- It oossune tti - conrene h d d ':8-" non« af',that tor nothtng.; that he'd given me
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I went back to the hotel end went to ,re'-'-a-,fll .r'~ln'-' n' ,..... : ,I, _ bed. I 'wok,e' ut: in the mkkile ot the n'jght' an,d though! l was ,going to die. tn. '<F~IC' :t< , h" ea·' t<h·:-- -'e.:- lmpre -s"-~'S···:/~o",·..n:-I I··· IA/:-:)S:-'·_·C ... '· Ila wot« ... dy,:,in'~'g:~_ t ~·"'I ',", the trumpe ter ut: en d d'··,-y' g'= t-a':'--,/:d'-~I.h_im ,- ~~,r~s""-:·,..._",', in'·"_',.') .:Al_'nd_"_. he ",'[ '. rH~o,.. . l"~" .' d ru·-",,(ys.····· 1the! he 're·:--,p- lied. ,' sp····a--·c.·.·e' out o~:n',d.:-.lr ... No you're not! No And h'-,. we-n-'"t', Ie··' bec« to' slee,pl~~~ spent one' helluva e l sucn desire to play like' thot, because vm! H-' n'ig:'I>-ht~ I re:ally/ thouent I was' b ,aoing> to 'h _ gaVre m,e ever,-,~ l.ng~ .' ,lei ,gave ,me} _e b' .. Bverythina the desire' t-o'-:'[:.</,"')., t-'h"'· e' ,di:e'~ I didn't k,no'w why: At' IEi'st J .fell p',ia"~I~11 t:J., .,' _ - -ra~', - 'e- -- h' . 'n'et .:' WJiI-l'~sn,ene,,bYr JU.'I-st-- ,ev',ry;",',I,bH.' s- 0 I",t' v'v'd:/:~, l.t·-.... asleep., I got u'p in ,the morning' an'd 0- W' 'n- o--'nt-'os--tt":t:rIe-·t~ a-.. '~.~~',._ :'._-! .~··'I"','~" ;' '&n'-tW-e'--nt- ._. ''::":.',::,/.'.' I·~.~/" '~,::, .'_:-.I,'----e- 1_,~:,·_[r··~I·:~.~~, n--d" ,..t~· "Ie('.·~ righ,t to die it you /,'o"ve,d ICoftran'e in +':a··c'- . to"~ v.o···· I'a,':'~'. ,t,:o,· f-'fl,l' a' -. nd: ,:: c' 'a-I,rry"" -IU' -on I' 'I ~,",,':, -d" '.', J: ....... " lik'e the' Iwhole town was c'omplete'ly _ .:-,--, : . >~' ·",Y ~ ·.. kn:"e"w-' J' h"a:-d"-', .~."·to.-:·· 't"-r-:- ,- a-no' . ·d·-~. c'•.-':'a'r:'ry--- 0: -n-- B"",u't lit up,. As' I walk'sid' r;o'unld th,e' to'wn'~ l .. :. "I-!" h·',:a _, ",' e I' ····,I-~g-, , '-.- .. . -:',',' · '.' .... _ Id' n, ':< ~eia::o/~. . ,d··," t-h-:,_ , "ee_In .. every,_"t-h-'--,:/ng, was th'-:'e'h·ow··.• 8'n·,·d· -IW- ::h':y' o-I":;ta'I/I' J~,.JUS, t: cO,U_c. ::,}t" " d 'ObI" ,-' , +:/!crure' ,-' d-,;d"n 't' ,:,'~W kn-'o lncrel:~.'r,-y c',_ear., J- Wel,'-'k d- B,D,ng saYlng .'. ,J!r_-' to, f~5' out-' '1"':0'. S+'J:Jrt" WJ"t-'h"- ,.:, I,(",tu_' __ i'l :', ,--' .. ',.- .... ,-, J ,~ ... ,-.j:t"' ..a,nj/lone "COIU,t1 'd'; P,IBY musIc W,/,,' ~h:' ani',''' to myself~ Wh'8tS h8'PP'ening?'/"went c, :'h' e· -111 /5",·-t,: ble-,-,c-a::'lu, ,:5:": eo! f ~t~·.:" '.""~ . fh!D_" .·g-ht,I ",.' ,<,' '0 ...'I-~'I,.,,' th'e':'n"" J !IAf~s:n' 't e: -ven' t"h,'n'k1n' 6; 0''.'''t- ere' .'a' ,tin' 'g' In···f:o··' [ .,-." · 'h m,ustc t,_'fOUg" h th- :at , .."~ '. ' u -_ . ", some·.···fhing-··,' a,,,_,'·b:·.·narm'al' Iwas h~p'p··,.01/"1' j:n"",g···_··to In,e'~,.". ,ME ,an,d'~ .I don't k'now.,. ~ l ~~ fo.·lA'u. :h'e;..... ,.'. .' , I d·,:' ,"d""'n····t" +'-e:·· I"~ ·v':e·· :·r~·y-.'.' -W'- -,1',-',', ,- he--mis~-·:,t~ ,:__.:__ e.J '"On'iB' levelling am'o'ngst SOl many t_-:j vlVlt /"(.'Co:, others in Turin l'was' drinking so',m'e A-nd" h-·.g sa;d-' 'Ilt/a-· a m,iin'u't-al B'-"ut I ;s·'.--:'k·~l ,-' c':·.:·'t :--n···· -·-a' s'····~y'·': p:':-:lrec_:-c-·;s,,····e··.:_:··,/y- .... ;t·~ we/1t out again', I didn,'t wait for hlim! to wh'~ n,.illla···'sc~'-' m---'.1 s:··'e--c·--··o:n--d-·.. l::::;,1I~"- ~ ," I p" •.•. ·t: t~h'U,~, . . _', ' g.' :5":'5"'· , ..·__ '_ '._.,<~: -, ......., :,...•. ~ aia"s:-s-' ' ..... ',' c-o:-----m e',- b··Q'c,::.-.k·'·' o"'-'nd" I. c·a· '.rr,~'e··-·d-:: o· en' ~IA/~lk······.in··:-g·" 'k tt-h ....•. w'n' .. ~d·1 'c .... .,' -.- . t" r,e" t-ha,·' t-h 'raug,_ h- jOe I,·'11 ; - d town',. u'ml.nate do' ,_,_ ...,._an'.d ..: sa~N,: 'vou'll ,nevera'e k f an',other drln'k le've!1: l put th',e g.····ia,s's " s',h,oul,d s;~Y' ,hiere' that l hadn It taken ' do·-'w-':n'-:' ,a·-.:'n:·d-,' s-a:,::/·jd",' I~'d.····.•,; n-·'e.·····_-n,IAr:-: d-'r;n~,·k-,· a··;,a'~/~n'l anything, nl,ot drugs nor anything b:
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U~ _ -i iE"e 't'a :-:5, ~\f' II 1 La _.il"'8'n'J,t T'h_ ~ba u I*' a :J: :llf-,- - u'O"h'llr -m U S"IC i-:l n wh' 0 began ~n the b'11ues-rock group IP'iveswRh Ifranci:s Mloze Olrll organ alnd Lucien Zabuslki .al~'as ,Zabu as voca~~jst. 1968, '~hey recorded four Idemo traclks Illn that ,attractls)d the atits'ntion ,of' Lee Hal~l~da:Yt,a prod,ucer with IPhllllips, and he S'~gnedlup the ,group under the namiB of Zor,g;ones. Arm ailibum ire(:orded ~In June ,68 was n,ever re~'e'ased~ sitngl,8: eamle nut A on thiS Miercury label in 1969~1btd, '~twas short~Iived and Irather undeIF-CQVer., In May 1969~ Lau,- *" II d rent - T-h' -b ~'- contac.teu,: C-'J-h" . ··II_au~t: .nsi[~anV'al,n·.el. '--h T 'ery p-racti~sedtagle'the r at 'the Math urin Regn ~er studio. In early June they ,engaged Lucien Zabuslki (Zabu) as voca~list andllate Jiune Franc:~sMoze on J-' :. ..... '-G·'·~II "" )-.. 1 'e·y·-:,b·,,·o'~r'· de- a' nd Je' 'aln11~.()I;....QUes F· err)( l\ M·,c_" I~~~ on guitar. laurent T'hIbaul'~ gaV'2, up the bass earl:y ~'n 19~'7":'O- '·0-' d'-"-'_'" :c",'t:e' I-h~-,'---'-8 ~ tIIOo pro"'dll-U-III·t"o-· n, an_ d'-" In 1·'C -" '.'.~I' t,_€V 1m S-::-:"~f' ~_ pa.rtie ular severa ~M'agma al bu ms.
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The' tour was torcea to' a h'alt., We we,fie playing some piece: in'spired bv the ,': Ph··'..··8'··YO,·,,:-::)h'·'· S·:·,·:a· 'ers 'o:-"f"" Iou :h,-,·,'d··:· :n""'d' L, ~',-' h:.,1 wit-hi_ _ s.... _ _ _ hy-:s.··-,fe··.·,r;c':,~1S:}1'.IO.,·."u-,~t·'I.~n-·'g',-, Tb'Ie, ome __ _ _ . t'l. ~ a _ _ ... _ _. custo',m'ers tJ8'd ,difficulty drin'king tnei: d °t' ch'am'pagne, our penormence Iwa,s,n'~ ., .. .... , ,. -' r '..' 1."_. .'." ' ·'t IVVj ~. . rea,II,- ,5 U:,',Q:, bl_,e,.~~,,'_.e go .t th 11own,..,.' au t~ " "-" t :,Y ~.-' ." ,'" _ ,e, tnere were some oeoote who to/Jowed
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From ten o'clock in' the morning unti! ,two o'clock the next momim; he'd be ste :'.o thlere'~ H: :., d 'd""t: kno» w~~'eh ,S syea, ne aion ,nIO'W :-:h"-:' hie jus; did;' it wa,s Iq'uite something for "'t' "t th- t ,-b ,0 l ' a gu'/arts 0'f' tret cafre t· p,ay th nree ,F'-F+ f C hioros _I',,",e u a··j;' tor mteen lor staeen d tik tti t'. h outs on ena, sometmtu; e:se b d" t"·,0 d th , I nee b e h-nooponmg t~,OO. E vel)l',oJI CO,U_' 'ne b" d id feel ,s'omething was: ,go'ing to hiap,p,en ~.~ We coutdn't p,ut our finger on it.: Th· ··,re·"··' a It;.. C'_ ",ra'''''Z"ll p'- :'Ie'':·Io-'Ip·'·-·'!e··-· I L,.., h.c '_---.1 stuc« in e s't. .'udlo re.,h'-::·A::l,a:_r'S:·./n',o "_.' se [. _. u ,~, '0 the . _. me thing:' over and IOVelf.' sa'J!i~ng··;:·' We're I '.... - , ,, a aoine tOI chsnae B'1tsryt"hin0 ! We 're IO·~·-··[·· 0; _:-" _" ':"":'·0"-' .:.......,' .. going tOI change eVe(yt'1'ing! We're " + h yth' II .'.' vv'e gOI',ng' llO IC"'81?ge el'ver·. ··"Jng.,~~ ~AI never 5'1-0: ooe I rem"e"-lm,-ber e""a' t",in--g"" 8' ,U',,~t .. dt t c'< sa,nd'wich sometimes b'ut it sat on too dwict: , · d o f my arums, tnat sene w/'c t.: J' a te It h pl.laying the' drums ..,'
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no such thing es pure "luck". There erou ,~, .::..:' _'." ..t we",re'," pe·'o'p,·-··,"e· OJ' U·,. 'n"d,' a··· the time b',~tt~ i "1:..:1;,..-1_. not the ones you tho'l)ghl. lots of muscer» comptsined ebou: no: getting any sessions, not being eote to neve e1no,ugh dceis witn tne stars, as 'we used to say then. One day, I t' se t up a meetmg o·f a"/'1 tn,e m,USlCI8ns ',' 'working round Pstis, end It was a totet +~o",.",·p,·., So i~'~e,":::' moved o··,,~··~e,-r"· usicions to m ·_1' .. ' .. III,. " v,., .. " · th · h 't · tn me psovmces, sucn as gLfl,arfs' t Ctsude E· '0 " ~h""o""."0', , . trom '7:0" urs nee,,"",.' .• ceme '. or Frsncis M'oze irom Bordeaux who'd never re,alJy' played' the bess. And we seid [to eecti omen "tts tor life end death and even beyond" So I hope everyone who Iwas there then is still " · h' .r: csrrymg on In"}S own way',> nOlA", rot mysett, I C'8',n say tve been 'working for thirty yea'fs' ,n,ow,8',n'd always ,a',~ou'/l'd the sam'e id:e:8. In th'e way Magm',a~smusic ha· '$.: d:'e",i.~e.··,I"o.·:p"·,-·e;'id···:' h'·,o· .. w,,··;,·: :.·U' ,c'' :h'' r:~p'•',re,' ·'s·:e····,n:· t'5······ work, il0'W ,m'uch ,re's'learch ci'nd ll,,0W' c--:'h .'.:'/', f.'' ':ln_: e·/~'·t~~i? m' _ ;'. l,' s~"P'"..'o:·-n,·C'I(U' '.-:',.;:,., ,ca"'-: "'r: m,', :"e-' e;-'~Ie""'ry" , ,.-t.'h·'· ··,"'n· . g" .. ha',s a/ways h'iC/,ppened \Aery ,n'aturallj; t'h "t'h an' d' ',",8' t ever ,Slnc,e I:,e b " ., i,; ·.·eglnnlng~
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t'st s·o -- _. D.n as' an' ex'.ra .:'::~,S'5IS·~, .c. _ -th'at ,all the' robcersels lor tne double 'rJ"h ,L .' a 1bum werei cone 'wit,' t: renee ,'M' oze < . ,-' --I'· uic 00'·-········: -- td sec _y 'VI 1··-· on e_ ecmc oess enc J- --:k'·· ll"d:',a· on dou,ble bess. Unforlunately wnen we uatthe - .'.. -.- . 0'" -'- ~" .'- mock-up of the CD we reelised Je -':,,:,,:,5'e" .:--~.--';~s:'---: ,fi-,-,"8"d'y__ JI- .., ,H" ' e'" WQ«, tnuy .: c"'q:u' -Wa,n : 't '--'e '-" - et. .- ·;~s·- --1' ,o"ve:" Ve'/)l mucr b t- h h out no someone we -' d w8',s',n'1' re,ad,r So' Feton cstne into tne grou'p to' teoece Eadie. Then one day Wp h--'--,'a,.',d.·-'t'IO' ..·_. a-0,.·.·,'.. e m ·'.0'. ck-u P-·I rin'·. me _. __ be . _ . Pet Marconi studio in Booloene ihet we'd !D~ been ten: tree ,of,c',harge tor reheerssls. Th·' ·---~--st..--.-., -/":'-" .",- , ..Uo.. .:, LoiS wa,s ,',an,(,Q,SIC 10'( U,S b. to. I'~t·,- ,'- ''d i mesn l sometimes hod to 'walk tne ote 1','5__km... 'k- +(1 se ". m'': Y' _._-'tnotber in -'. . , :bee tv ._"... . . v.. .. is Celte Saint Cloud. I tedn 't ,got 18 cat: 'We used to rehearse ttom ,~o o'ckxk in th,e afternoQ'n till two' D,lelo,ck' in thle mor/1ing~ at leICl'st, After that, we had to , .,8C', ·.,ome.,~" ge t b - 'k h· - ...

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blo,ke' wno 'was always talking to me, l hon,e,stly tho'L,ght he was' an kiiot.: He' was' ai/ways' as,king to' sing with me; he hl,Q'd long hair and a besra. To me he was' up in' me C,lOIUds" I Idid,n~ttrust him at all~ He was always telling' some more or tess t' ,-... t--.-"-- "8 .-,- . t- - ... -, ,wan,~ .Junny . stones. - H~' . useed__,0' ,S8yj '('('1- . -. . r'to sing, I wan't to sing.: end ltd rep/~ -· we I .. K -" -: . ... _")' vve 'd -,.,-'"d gOIt, '. 0.;········-,- ,. 1'$1· see,,~~~IA L ...... a ,~e.ay--.''-....a" singer' with ,8 tine voice, bat who didn't sing in time, stil', he wa,s a iriend from th .' t t" ,th .e ,/m,e 0t..':' e IcaSI.no "our.,~," S-·--· we .. ·.0 ':_,,-< d,'d'-n'· 't- de re trv a-ut- f\~'!~"'~I b ecause of' //Iaus this chao , - Butt one d "a'=y-: w·:·_.-··-e'-'I mede a.:.:.. our trial tepe, end be couktn't sing in time. Conctuzion. First 'we,Jd'done tne bass end drums with' the brsss.: the · bk ,P lsvosc«;».t-h b e oese. ~"an d th e sInger u.
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singing ",Kob,alaalaan I seid to myselt: So who tbet singing there? It was Kious'-. ,,~ B,lu,t,tn me m' · ..centime we'd ao: ..t _ _/!'~' . . - .' . 8'ngry' 'with Kteus, beceuse we'd told tum be coutdn't txxsit: r be p.: a,:' ot thle""', rt [group, we, dldni't want' that Zebu was K',,·la'· wentI ott vety»'/liary'", iu: Iour sineer. I ~"" "'.' ,;',: ':,.' lS' I was standing there Jiste[ning and I saj;d. "So thot s Kla[us?l' We looked tor him everywnere ettetweras.: We hedn 'thesra him at [all in the studio! Now that's msgic tor you' I mean it's cralzy reelty. ~ ,.'

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'There Iwas' a Paris ctob celted the' Rock'n R[oll Circus where all the' .',. _'. ,",a'rIS bIe,s:tk 'nown rnUS/,C,laniS In Peri ,use·'d to pla~ Wel'd got our group together · h' I' b ,0 ,go sno PilBY' In t...is auo. S"'h ",O!W' t di thet music existed. Because peopte .:,r [' ",'. ,,_,,[ fe'al' ' " ~" _::, sa' i'd th"'at""s' wh··ere,', the ,~',,~,. musl'c"'_." U'8S E ve' ry thing W8'S there" ,But we knel'w there' wasn1-f such a thing als music' a',n'dwe wa'nlteld to s'how' th'eml thel cra~y people we were[,.,~
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"Dutine reneersets in les v~IJel;' ... ,",.J,,"6, t'vl",nleS ., " .. '.., L" I' S:C-,··,· k r. " .. v·v'",e' wei go,,t- t-· 'k«nowioutou . senassten. IIIAI ,0' ' were hsvi a d ". k' at ho! chocolste evtng ann« . tot I · b d ~ IOIU . _. In' a oer enc L'au,,. was there. He ... must have mede B' remark eboot my tong heir. 0'( tnst I neeaed a' sbeve.: 'Thiel bar owner knew' him well end signalled discreletly to me to hold back', It almost tumed into a trsglc event. Later on Lou/au edmiued tOI me. "For the' tirst time in' I11Y life l was afraid ,~ )t;et he certainly was'n't th'(!; type ,of perslon to ble afrai,dl The ,tllnny thing was) shotftly a'fterwalrds, he to[0' had a Ico,mpJetely wild hela,d of hait: Fil1a11y alJ~s welJJ that e.nd,'e[d well we told him to CQ'me to re,hears,als 8/1d he Iwas wild ,about QU'f n1'u,sicr,m,. He,Jd strike tJ. ,e percussio/1 inlstrum'en'ts
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"Lsurent Tbibeott': sister improvised tor this tdrawing in'si,de' the sleeve, 'th k'; .... sne orois; t wnnon our ,as'.':/n:g h er S'h' b h•• this proiect aio',n,g' in one solid piece end it was the' !o:nly one that sultod us. It was something' concrete No time to' ,go over the detslls, e'verything bed to' d 'ckt d t: ,bB' ...··.:,Q',ne very'lq,UIC_/Yln' 'ntn · ·.os,ei···~ys,~ " or the claw that everyone started talking about I ~::ls"-'n-i't: the one who esked $.0' .. "r "··U I~ ~.". tnet. J eskeo for a' kin'd' of animal's paw coming from' spsce and en'circling the esrth. r'd even' esked for it be crackled in some way., So she th,o!ught' UP' this' ctew: but th,at~snot what t'a esscd for!
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