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6 May 2017

Offenbach “Saint-Chrone de Neant” 1973 Canada Prog Rock second album

Offenbach “Saint-Chrone de Neant” 1973 Canada Prog Rock second album…recommended..!

Offenbach by Jerry Boulet….
 Despite having released their debut album, called Offenbach Soap Opera, it didn't create any momentum; the band shortened its name to Offenbach. Through a series of event, the group finally got their break and received the OK for doing a rendition of La Messe Des Morts in their own terms in the Basilique De Montreal and later in other prestigious places in front of big crowds and rave reviews, which eventually lead them over to France via Falaldo's project. This was the group's big break and I understand that the show/concert was filmed as well, and broadcasted live by Montreal radio legend CHOM FM. The resulting album was released soon after, but only chosen parts of the mass were on the vinyl, for time restriction reasons. The ProgQuebec reissue not only reinstates all of the missing parts of the mass (including the non-musical bits), but adds the few unrelated non- mass tracks that were played as encores.
Named after a dubious play on words about Synchronization, Saint-Chrone De Neant is a rock mass, a bit like the Electric Prunes recorded back in 68 and Os Mundi will do the following year (73) in Berlin. The album was recorded live, Nov 30 in front of 3000 spectators inside the Basilique and another 2000 that couldn't get inside and were probably freezing their nuts off. (This writer would land a three months later in Montreal for his North Americans adventures). Those reading me for a while know that although fiercely atheist with a slight pagan side for provocation purposes, you should think that I would hate such a concept, bit from the EP, OM or Offenbach. Well guess again, the churches allowed many liberties during and outside the mass throughout that magic 70's decade. Don't get me wrong here: I'm not a huge fan either of such projects (that included a large choir in this case and the church organ), but it makes for pleasant listen if taken lightly and the group is talented enough to carry it out with credibility. Despite this project being Harel's baby, Gerry boulet and guitarist Gravel contribute quite a bit to the compositions

One of the reasons behind this successful but risky concept is that the Baslique's excellent aural capacities were used to full effect (the drums sound is absolutely perfect), and after a 5-mins Chaconne (from Couperin) played on the church organ by group buddy Asselin, the group launches slowly in an 11-mins Pax Vobiscum with a lengthy Hammond intro, slowly segueing to choirs under the demented drum rolls of Belval and ending in a cheesy church theme, aimed at softening the heart and the wallet's leather of the Christians fidels. The payers and religious monologue are not the most entertaining, but they're short enough, in three languages (Latin, French and English) and are always good for a laugh, or at least a chuckle. The mass goes on with many instrumental passages that allow for solos and individual bravura moments and many joys, much more than the few cringing more religious moments, making me wonder if and how much the clergy agreed. Fils De Lumière has an Ange dramatic and sonic quality with a tad of Sabbath in the guitar/bass/drum ending. After the "normal" mass, the group was called back for an encore and played Peanut (from the Bulldozer project) and the crowd requesting more, Rirolarma (pun intended >> laughing to tears) and J'me Pousse were performed, the latter despite a failing PA system, as you'll hear,

This "amazing" album gave Offenbach a push for an international career that very few Quebecois rock group would have (not speaking of singer/songwriter or divas, here) and they would head for Europe for the next two years, not even waiting for Bulldozer to finally gets its release. The group will play on until the mid-80's; which unique in Quebecois prog groups, although by then, there wasn't much prog left in the sound. This reissue will probably solve many Christian progheads about their Sunday morning choice of music. They might want to alternate it with Os Mundi and Electric prunes. Certainly worth throwing an, ear on it, but I'm sure this will be close to an essential piece on your shelves? it certainly is in regards to Quebec's prog boom....... by Sean Trane ........

Offenbach is an incomparable group in the history of popular music in Quebec. As the most worthy representative of an uncompromising rock, a fusion of flayed music and the rebellious message of a few poets of urbanity, he also has the honor of having established a first bridge between music Yé-yé and French-speaking rock, characteristic of the 1970s. Offenbach derives its creative vitality from the musical talents that developed in the Montérégie during the 1960s. For if 17 men participated at one time or another in The saga of this exceptional group, it was around 5 of them, originating in Saint-Jean, Granby and Saint-Hyacinthe, and lyricist Pierre Harel that his first identity was defined.

The adventure began somewhat in 1962, when Denis Boulet invited his brother Gérald (Gerry) to join the Double Tones, a group of factory employees from Saint-Jean who became the White Gloves two years later. Like the Hou-lops and the Sultans, the White Gloves emerged from their local confinement when they became, in 1966, the regular musicians of the program Bonsoir copains, broadcast by CHLT (Sherbrooke). A year ago, they recorded their first single; Several more will follow until the formation takes the name Offenbach Pop Opera, in 1969, then that of Offenbach Soap Opera two years later.

In Granby, again in 1962, two future members of Offenbach, Roger Belval and Johnny Gravel, together with André Thibodeau and Réal Perrault, founded the Rockets and began to animate parish vigils and school evenings. In 1964, the Rockets traded their names for Venthols and recruited Michel Déragon. From that group, in 1965, the Heirs continued until 1968. That year, Johnny Gravel, who had abandoned the Heirs for the Caïds, joined the White Gloves of the Boulet brothers. As for Roger "Wézo" Belval, it was not until 1972, after having been drummer for Aimless since his departure from the Heirs, in 1967, that he joined Offenbach, which has just adopted its definitive name.

On the Saint-Hyacinthe side, Michel "Willie" Lamothe, son of the famous western singer, joined the White Gloves in 1967, after being a bassist for the Maskoutian bands Jaguars, Sphynxes, Odd Penitents since 1963.
At the time of Offenbach's "official" training in 1972, the group's success was still uncertain, despite the release of a debut album in the previous year, Offenbach Soap Opera, containing anthology pieces Célline de blues and Must I grow, and in spite of, also, the memorable holding of a mass rock at the oratory Saint Joseph of Montreal, from which was pulled the second album of the group, Saint-Chrome of nothing. In the spring of 1975, after a European tour that confirmed the departure of Pierre Harel, Offenbach took advantage of the enthusiasm that has taken over Quebec for less aggressive sounds, such as Beau Dommage and Harmonium, At the Place des Arts. The album Offenbach, published in 1977, receives an enthusiastic reception, the titles The voice I have, Promenade on March (1974), Chu a rocker, Ayoye (1978) and The blues me watches becoming great successes. However, disagreements soon led two other founders of Offenbach, Michel Lamothe and Roger Belval, to leave to join Pierre Harel who is actively forming Corbeau. New musicians replace them immediately, but the formation certainly loses some of its Montérégie identity. Offenbach ended his experience in 1985, following a farewell show held at the Montreal Forum; In 1986, Adisq made a final tribute to the group by awarding him the Félix of the rock show of the year for this stage performance. If we include the albums in English and the compilations, Offenbach leaves in legacy a score of single discs and 15 albums.

Line-up / Musicians
-Gérald Boulet / organ, voice, synth
-Pierre Harel / organ, voice, synth
-Jean Gravel / guitars
-Michel Lamothe / bass
-Roger Belval / drums
-Yvon Hubert / orateur
-Pierre-Yves Asselin / grand organ
Songs / Tracks Listing
1. Chacone en Sol majeur (4:47)
2. Pax Vobiscum (11:05)
3. Kyrie (5:22)
4. Oremus (prière) (0:49) *
5. Finale d'Edgar (1:01) *
6. Dans la chaire (sermon) (3:19) *
7. Requiem (2:39)
8. Dies Irae (4:50)
9. Fils de lumière (évangile) (2:37) *
10. Fils de lumière (4:36) *
11. Domine Jesus Christe (5:34)
12. Cum Traderetur/Memento (7:43)
13. La Marche de Peanut (3:52) *
14. Rirolarma (4:58)
15. Faut que j'me pousse (5:03) *


1972 Québec Rock b/w Ma patrie est à terre (Deram) DF-571
1973 Caline de doux blues/Faut que j'me pousse (Barclay - France) 61821
1976 Never Too Tender/Running Away (A & M) AM-434
1976 High Down/Running Away (A & M) AM-438
1977 Chu un Rocker/La Jeune Lune (A & M) AM-444
1977 Sad Song/Running Away (A & M) AM-449
1977 La Voix que J'ai/La Jeune Lune (A & M) AM-451
1979 Ayoye/Bye Bye (Kebec-Disc)
1979 Je Chante Comme Un Coyote/Mes Blues Passent Pu Dans’ Porte (Kebec-Disc)
1980 Ride Ride Ride/Someone On The Line (Spectra-Scene - France)
1980 Le Blues Me Guette/Caline De Blues (Spectra-Scene - France)
1980 Strange Time/Georgia On My Mind (Spectra-Scene - France) AZ-1-802
1981 Le Bar Salon Des Deux Toxons/Palace Des Glaces (Spectra-Scene)
1984 Pourquoi Mourir D'amour/Rock De V'lours (CBS) SS-6005
1985 Coeur En Frimas/Seulement Qu'une Aventure (CBS) C5-7078
1985 La Louve/Diable Vert (CBS) C5-7107
1972 Offenbach Soap Opera (Barclay) 80137
1973 Saint-Chrone de Neant (Barclay) 80153
1973 Bulldozer [Original Motion Picture Soundtrack] (Barclay - France) 80182
1974 Les grands succès Barclay - Volume 20: Offenbach (Barclay - France) 75020
1975 Tabarnac [Original Motion Picture Soundtrack] (Deram) ADEF-1178
1976 Never Too Tender (A & M) SP-9025
1977 Offenbach (A & M) SP-9027
1979 Traversion (Kebec-Disc) KD-L963
1979 Offenbach En Fusion avec le Vic Vogel Big Band (Spectra-Scene) SS-1701
1980 Rock Bottom (Spectra-Scene) SS-1702
1981 Coup De Foudre (Spectra-Scene) SS-1704
1983 Tonnedebrick (Kebec-Disc/CBS) PFC-80077
1984 Offenbach et Plume: Live A Fond d'Train (Kebec-Disc/CBS) GFC-80086
1985 Rockorama (Kebec-Disc/CBS) PFC-80103
1986 Le Dernier Show (Kebec-Disc/CBS) GFC-80109
1989 C'était plus qu'une aventure, 1972 - 1985
1990 Offenbach [re-issue] (A & M)
1992 1-3-5 [Box Set] (BMG Québec) 74321-10293-2
1992 2-4-6 [Box Set] (BMG Québec) 74321-10247-2
1995 Les incontournables: Rock de v'lours (BMG Québec) 74321-32565-2
1996 Les incontournables: Blues (BMG Québec) 74321-38040-2
1997 Les incontournables: Rock (BMG Québec) 74321-45380-2
1998 Les incontournables: En fusion avec Vic Vogel (BMG Québec) 74321-56569-2
1999 Les 20 Plus Grands Succes
2002 Les Grandes Succes, Volume 2
2005 Nature
2007 L'ultime Offenbach 

johnkatsmc5, welcome music..





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