Lyadrive

Lyadrive started out in May 81, in Watford, England, and were active til spring 85, recording the single "Anytime / White Dress" in 1983. In 1995 they reunited and recorded the album "Another Time, Another Place" in 1997.  We had a chat with drummer Lee Burrows, about this underrated band.

Q. - Hello Lee! You started as Tempest Ride around 1981, how did you got together? Who would you cite as your major influences at that time?

Lee - The band started to come together in the spring of 81. The core of the band met up @ Neal Kay’s famous HM Soundhouse in NW London. We were all just major Heavy ROCK fans, bought up on all the classic 70’s bands & excited by the emergence of NWOBHM.

Q. - What were the main difficulties you faced at that time? Practice rooms? Availability to rehearse? Some lack of material? Or other?

Lee - One problem we faced initially was the fact that I had not ever actually played a kit in anger for a start! Taking my cue from the UK Punk ethic. We never had issues around rehearsing.

Q. - At that time did you play some covers too, or was it only your own songs?

Lee - As with must people in their 1st bands, covers was the way in. You start there & see if you gel as people, gel in musical taste, attitude, outlook & take it from there. After that we started writing songs.

Q. - In April 82 comes the "Bridge Records" compilation album, with the song "Another Time, Another Place", how did that happen?

Lee - We did a couple of local gigs @ the end of 81 & were not entirely happy with how it went. We had decided to do a private Christmas gig for us & some friends & to cut a long story short, due to some gossip, we actually split up! Come March 82 we got word from the guy who owned our rehearsal studio, he wanted us to do a song for a compilation he was putting together. It didn’t take too much effort for us to say yes, after all who knew if we’d ever record again.

Q. - Was there any promotional mini tour, after the release of the compilation album?

Lee - Not a tour as such, we played a few gigs for this guy (Al Bartlett was his name). He also did a one off promo gig featuring most of the bands on the compilation in I think August 82 @ Brunel University. It was well attended & all a bit of a blur actually.

Q. - Why did you change the name to Lyadrive?

Lee - We found out there had been a band called Tempest who had made a few LPs so thought we’d better change it. Not as easy as you’d think! Lyadrive was just a combination of 2 words (Liar given the Lynyrd Skynyrd treatment). The fact it meant absolutely nothing appealed to us. In hindsight we could’ve done better I guess.

Q. - In 1980 you worked as drummer roadie in the UK tour of Iron Maiden and Praying Mantis, how did that happen?

Lee - Because I was hanging out @ Neal Kay’s thing on a regular basis, I heard that Praying Mantis were looking for roadies to help out. Sounded like a great idea to me & I ended up helping them out @ the end of 79. When they asked me to roadie for the Maiden tour I gave up my job @ British Airways & did it. An experience I will always cherish but again in hindsight not the smartest move I ever made.

Q. - What memories do you keep from that tour?

Lee - Meeting up with the tour bus @5am in central London to be taken to the famous Shepperton Studios for a gig set up run through, an enormous hanger! From there we had a 17 hour trip up to the 1st gig in Aberdeen (the bus was an old relic & could barely do 50mph). Loading in flight cases of gear up 30 stairs covered in ice was interesting. Being frightened out of my wits when Maidens pyro cut the power & set off the klaxon fire alarm, right above my head, as I was dismantling Mantis’s drum riser @ the top of a now blacked out staircase. How’s that for starters for a 1st day. I did ask the sound guy to do me a Mantis bootleg for me to keep as a momento, alas I suspect one of the Maiden crew nicked it.

Q. - In march 83 came out the single "White dress / Anytime", did the single have air play on radio stations, at that time?

Lee - Apart from a local pirate radio station (Radio Floss 222MW) we were not aware of any. We did get a couple of reviews in Kerrang & New Musical Express where we were called ‘a pub rock Blue Oyster Cult’, what they call a back handed compliment, we were ok with being mentioned with such a great band that we were kind of happy with that.

Q. - A single were planned for 1985, why did that single never got released?

Lee - We’d signed a deal with Loose Records in the Autumn of 84 to release a 12 inch 3 track single & went ahead with the recording, if I remember correctly @ our own expense. Loose we’re a small independent label & I think they just over stretched themselves & @ some point pulled out of the deal.

Q. - With the great talent and potential you guys had, what do you think has failed to achieve a real success?

Lee - Well thank you for the compliment Paulo. I guess yes, we had some potential & a few half decent songs, however you never know from the outside what is going on. Lyadrive got to where we got without ever really knowing how to play the game, without the utter ruthless commitment or determination needed. By mid 1985, 2 of us were married, me with a kid on the way, we hadn’t written a decent song in over a year, we’d gone through 4 bassists in that time when we should’ve stuck with Dennis O’Leary, we’d Organised a 16 date tour & ended up playing just 6 of the dates ... we were just getting bogged down & I think actually Loose pulling out was kind of the final straw.

Q. - What made you feel like reunite Lyadrive again back in 1995?

Lee - That was quite strange actually. Myself & Nick John (vocals & occasional keys) had kept our name alive whenever anything came up & we were both still doing stuff, Nick taking over his fathers music business & me still banging out a beat in cover bands. Within 1 week in 95 we were contacted by as it turned out a bootleg maker in the States & an obscure label called Vinyl Tap in the UK asking about our single & the Bridge album. Within probably a month or so of that there was serious chat with the UK people about releasing old demos etc.

Q. - How did the idea of recording the compilation "Another Time, Another Place" came up?

Lee - Well the Vinyl Tap thing kind of fell by the wayside but it had reminded us that we did have some kind of profile amongst what you would call the NWOBHM Anoraks which might be worth exploring. Thanks to Nicks connections through his budget record label, we found the guys @ Minority One who were willing to release it. Also thanks to Nick we had a studio where we could get a decent quality recording @ a knock down price (Nick used it a lot when doing his budget CD collections). Luckily he knew a great guitarist (Keith Thompson) who in a past life had been in a band with Wurzel from Motörhead. I also @ the time had just finished a stint in a metal covers outfit so roped in the bassist & guitarist from them. We were ready to go!

Q. - About ten years ago, the compilations "Post Millennium Blues Compilation", "The Sands of Time: Sessions 1982-83" and "One Night in London… (The Denmark Street Sessions & ‘Live Alive’ Bootleg)" were released, how do you feel about these compilations?

Lee - Well 1st we’d like to say big thanks to Steffen Boehm & High Roller Records for putting those 2 LPs out. The guy is definitely an Anorak of the 1st order & was very kind to put out our demo material. I think ‘Sands Of Time’ is a worthy effort showing how far we progressed in such a short space of time. If I’m honest for ‘One Night’ I guess maybe we were milking it a little. ‘Post Millennium’ I’m quite proud of because it coincided with another spike in our story. After the relative success of ‘Another Time..’ we went back into the studio to record a few more songs for fun, having made a few hundred pounds of profit we thought it was the best way to spend it. All went quiet for a bit & the songs just sat there but as the Internet age had reached the Facebook era, I took it upon myself to move the Lyadrive My Space page there. Interest from unexpected quarters started to happen. Couple that with myself getting married again & original band member Steve Jones coming over for the wedding prompting us to do yet more recording, which included 2 more members from the 80’s Steve Christiansen & Graham Bellmaine. We then got invited to play @ British Steel Festival 3 with believe it or not Praying Mantis! This prompted Nick & myself to get our own compilation of new & cover recordings together in time for the gig. We had both Post & Sands available on sale that night & an audience of metal maniacs too. Special thanks to Rys ‘Devra’ Miller from New Yoik for getting us on the bill

Q. - What expectations do you have for the future of Lyadrive?

Lee - None to be honest, we had a spurt of live energy as a 4 piece around 2011/12 but not the will or to be honest energy to push on from there. I keep the Facebook page ticking over & it’s great that new people keep finding us but unless someone comes up with a way of doing something without us losing money on it, we are quite happy that we gave it a go & have made a small contribution to the juggernaut that is Heavy Metal.

Q. - How do you want to end up this interview? Anything more you want to say?

Lee - Thanks for the interest Paulo. People can check us out on Facebook & Reverbnation, we have a website which is kinda dormant, thanks to Jon Hinchliffe for keeping that alive. Also thanks to all former members of Lyadrive including Paul ‘Rhino’ Ryan, Guy Wilson, Barrie Fleming, Lee Redding’s R.I.P & last but not least to Malcolm MacMillan for his fantastic feature on us in his Encyclopedia Of NWOBHM.

Thank you for your time, and wish you all the best for the future!

CHEERS! \m/ Lee

Michael Jackson (Satan, Pariah)

Michael Jackson was the lead singer for Satan and Pariah in the middle and late 80's, having recorded the Ep "Into the Future" and the Lp "Suspended Sentence" with Satan, and "The Kindred" and “Blaze of Obscurity” with Pariah. We had a chat with this great singer about his days in Satan and Pariah.

Q. – Hello Michael, when did you join "Satan"? Was it around 85? How did that happen?

Mike- I joined Satan in early 1986 if I recall correctly it was a l not time ago. It all came about when I was playing in a local band called Rough Edge and working in the merchant navy and really wanted to spread my wings outside of my home town. So I answered an advert in the NME asking for a singer. So I sent a demo tape got the audition and ultimately the job and then joined up with the band in London to start work on another album.

Q. - What other bands did you play before "Satan"?

Mike - I played in a band called Rough Edge before I joined Satan.

Q. - Who were your main influences at that time? -

Mike - I was and still am a massive Queen fan. I was also very much into Judas Priest, ELO, Zeppelin, Pink Floyd.

Q. - What memories do you keep from the recording seasons of "The Dirt" demo from 86? Was it your first experience in studio?

Mike - It wasn’t my first experience in a studio but it was a great thing meeting likeminded lads who became great, great friends writing and recording music we All loved. Experimenting as co-writers for the first time.

Q. - After the edition of the EP "Into the Future", Satan played Dynamo Open Air alongside with Angel Witch and Laaz Rockit, do you have any special memories from that festival?

Mike - The Dynamo festival was a fantastic experience for me definitely the biggest stage I had played at that time. We became great friends with Angel Witch and also ended up doing a small tour with the lads In Europe shortly afterwards all sharing a battered mini bus. It got wild at times but great fun. Laaz Rocket where also fantastic lads. It was most defiantly a crazy week that week we stayed for the festival.

Q. - Why did you change the name of the band to "Pariah", after the edition of "Suspended Sentence"? Maybe the name "Satan" was a little scary to some labels?

Mike - When we supported German band Running Wild on your  to promote Suspended Sentence it sort of happened then. We would sometimes turn up at venues and religious groups would be burning our shirts and protesting that a band called Satan where in town. So we decided to take a change in direction and change the name.

Q. - At that time you worked for the band Sabbat, as roadie, how did that happen?

Mike - We met the band at a gig and became friends and when the bands first album came out we had just recorded Blaze Of Obscurity and waiting for its release.  So they needed some mates as support so we offered to go on tour with them as roadies. Steve was road manager and me and Graham did the driving crowd control and PA. That was also a very drunken tour but so many laughs.

Q. - The first Pariah album "The Kindred", had a heavier sound comparing to Satan albums, what made you change the sound in a heavier way?

Mike - That is a difficult question. I really don’t think it was really intentional if I remember rightly there was a lot of heavier thrash coming out that could have influenced us a little. And we wanted to just experiment although It wasn’t a favourite album of mine at all. Going back to more melodic metal was the only way forward after The Kindred although the album was received well by metal fans.

Q. - Why did the band split up after such a great album as “Blaze of Obscurity”? What made you feel it was time to call it a day?

Mike - It wasn’t the band it was me I will hold my hands up to that. At the time I wasn’t happy with the lack of record company help and no real quality management.  I felt Blaze was our best work and it just wasn’t being promoted the way it should have been and no decent support tours coming our way.. To many record company promises with little action  So I went back to Morecambe for a short break and decided I didn’t want to pursue making another album. Sad times but life moves on and so did the boys so all was well.

Q. - At a certain point, after the edition of "Blaze of Obscurity" there was talk about the recording of a live album, why did that album never see the light of the day?

Mike - I’m not sure where that story comes from but the only way we would have done a live album was if we had been on tour after the album. The songs on the album never got a lot of live exposure unfortunately and we did very little touring after the album release.

Q. - After the split, did you stay in touch with each other’s over the years?

Mike - I still chat to Russ every now and again. But no we never really kept in touch.

Q. - By 1997 "Pariah" did a comeback, recording the album "Unity", were you invited to come back at that time? If yes, why didn't you accept?

Mike - No I didn’t get asked but I had made it quite clear I had really had enough.

Q. - The same related to "Satan", when they came back, some years ago?

Mike - No the lads already had contact with Brian and we had not spoken for many years so it was inevitable that Brian would sing on the future albums. I am so pleased the lads have made new music under Satan. I wish them all the best for the future.

Q. - How do you see the heavy metal scene nowadays? Do you keep interest on what "Satan" has been releasing lately?

Mike - I take a look every now and again to see what the lads are doing but I don’t really keep up with the metal scene anyone to be honest.

Q. - So what are you doing these days? Do you still play in any band? Tell us a bit about it please.

Mike - No I joined a couple of bands but it didn’t work out so I went into cabaret to make my living. I don’t sing anymore just DJing, photography work and various promotions and different entertainment.

Q. - Looking back in time, did you have some fun with Satan and Pariah, do you miss those days?

Mike - I had some of the best days of my life with the lads. It’s quite scary to see how many years have just disappeared it’s almost like a life time ago and another person who sang on the albums lol.

Q. - How do you want to end up this interview? Anything more you want to say?

Mike - Thank you for asking the question as it’s such a long time ago and is still quite strange when people are still interested in what has to be said.

Thank you for your time, and wish you all the best for the future!

Seducer

The band Seducer was active between 1981/87, and recorded a single (Call Your Name), an EP (Indecent Exposure) and two albums "Caught in the Act" and "Eads Down - See You at the End", during the 80's, we did a chat with mainman Chris Hunt, about this underrated band.

Q. - Hello Chris, tell us a bit about the beginning of Seducer, how did it all start, who were the first members, how did the name came up?

Chris - I decided to form a new band, after the demise of my first band Clemen Pull. I found the Bassist Phil Smith through a friend of my sisters and we did many auditions for a drummer, finally deciding on Nigel Augur. Later to be replaced by Tim Haywood for the second Album. Nigel left for personal reasons. We also had an interim bassist Robbie Romp who featured on a maxi single, when Phil had to leave for awhile due to surgery.

Q. - The single "Call Your Name" got released in 1983, did it have air play on radio stations? How was it received by the fans?

Chris - We released it ourselves. On the Sticky Records label. It was a joke, Sticky Label. Not sure anyone got it! It had minimal airplay on Radio 1, Capital and local stations.

Only a couple of times though, as only big labels got repeated airplay and we didn’t actually have a label at that time. The single only had 300 copies pressed and was made to give away at a London’s Marquee Club residency. Which we did.

Q. - Both tracks of the single appear on the compilation “Metal Prisoners” by Mausoleum Records, how did that happen?

Chris - Our first record label, based in Shepperton Studios did that. They were a law unto themselves!

Q. - The EP "Indecent Exposure" was released by "Thunderbolt", didn't "Mausoleum Records" show interest about releasing the album?

Chris - Our Record Company were Thunderbolt. Mausoleum were just used by our record company. Don’t know any details, our record company were rubbish.

Q. - "Caught in the Act" got some great reviews, did you tour all over the UK supporting the album?

Chris - Yes, It’s what we did. Touring was my life.

Q. - With the great talent and potential you guys had, what do you think has failed to achieve bigger success?

Chris - I think it was bad decisions regarding signing to both first and second record company’s. I was more interested in playing to people than the money. I should probably have been more savvy with the business side, but that never interested me.

Robbie, Chris, Nigel

Q. - Have you ever thought about reissuing Seducer's albums since they are very rare to find nowadays?

Chris – Out of my hands. Both record company’s have the rights. Not even sure they’re in existence!

Q. - Did you formed Mental Helicopters wright after the end of Seducer? How did the band came up?

Chris - Yes. I did auditions for bassists and drummers. We toured for six years or seven. Never got a record deal. Didn’t really try too hard for one.

Q. - Did you record any albums with Mental Helicopters? For how long were you active?

Chris - Only a CD we sold at Gigs. Here’s a link    https://youtu.be/P27MNHiE8yg

Marc Coper, Pablo Videla, Chris Hunt

Q. - How did you see the whole N.W.O.B.H.M. movement, back then, and how do you see the interest about those bands and recordings nowadays?

Chris - I thought it was a lot of Great music. I think it’s healthy that every kind of music is out there these days. Room for everyone I guess. A great shame that so many venues have closed though.

Q. - Looking back in time, do you feel like there's unfinished business, related to "Seducer"?

Chris - No. That was my musical statement at that time. We have to progress.

Q. - Is there any funny moment that you can share with us?

Chris - There were many. Here’s two. We played a newly refurbished gig in Milton Keynes. A new high thin stage and lowered ceiling. On the first chord I jump off my stack, (it used to look good) The stage was also slippery! I went through the roof and the drummer’s bass drum disappeared into the audience audience. Their laughter went on and on. It was a great gig after that.

The other one was when I fell off the stage at the Marquee onto my knee, and did the first song lying on my back with the roady holding the mic over me.

Q. - How do you see the heavy metal scene nowadays? Do you keep an eye to the metal scene?

Chris - I listen to new metal sometimes, and Pantera is my all time favourite metal band. But I listen to a lot of Industrial as well. Like KMFDM and Sielwolf.

Q. - So what are you doing these days? Do you still play in any band? Tell us a bit about it please.

Chris - I mainly teach guitar but am also getting together some Duo music. Acoustic. I would play in a band but it’s all cover bands now and that’s not me. And the music’s all too quiet in pubs these days.

Q. - How do you want to end up this interview? Anything more you want to say?

Chris - Thanks for your interest. It made my day. I’m glad my bands made a good impression on some people. It’s the only reason I ever played.

Thank you for your time, and wish you all the best for the future!

Sacred Oath (Tamworth)

Sacred Oath were active between 1983 and 1985, and recorded the demo tape "The Power Of The Oath" in 1985. We had a chat with guitar player Muz Pickett, about these obscure band from Tamworth.

Q. - Hello Muz, tell us a bit about the origins of Sacred Oath, how and when did it all start? Who were the first members of the band? How did you get in touch with the other members?

Muz - Hi. Sacred Oath started in 1984, whilst myself, Paul Keeton (guitar, vocs) and Neil Concannon (bass) were still at school, where we first met. A little earlier in the year, the other two members had teamed up with vocalist Star Trek, who was from the local area. We met up for a jam at Paul's and the rest is history.

Q. - Who would you cite as your major influences at that time?

Muz - Our influences at that time were AC/DC, Iron Maiden, Scorpions, Status Quo and U2 amongst others.

Q. - What other bands did you play before Sacred Oath?

Muz - None. It was our first venture into the world of music.

Q. - How was like the Tamworth metal scene back in the day? Was it a united scene? How were your relations with other local bands?

Muz - The metal scene back then was in it's infancy. There weren't many Metal bands doing the rounds locally. It would change a few years after. Most local bands got on with each other. I don't remember much animosity.

Q. - Did you play regularly in the UK back then or was it hard for a heavy metal band to be booked at that time?

Muz - You  have  to remember that as a band are ages were 15-16 when we started, and by the time we morphed into The Judas Cradle, we were still only 17. So we played regularly in Tamworth but only got as far afield as Birmingham, some 15 miles away. Obviously we made plans to range further but none of us could drive, including all but one of our roadies. We never found any barriers to getting gigs back then, apart from that.

Q. - Do you remember the set list that you use to play with Sacred Oath?

Muz - Mostly. We used to start with an instrumental simply titled Sacred Oath, while the smoke and flashbombs would be happening. Magdellana was one of our better tunes in my opinion and would often follow the opener. Others were Honour & Glory, Love Kills (which made the demo, along with Lie With Me, Love With Me and On The Borderline) and Take Me To Your Leader which was one of the first songs we wrote as a band. Other titles were End Of The Road, Dedikated and One Day I'll Be King. A couple or three tunes which we played less frequently were Afraid Of The Dark, Fighter Pilot and Second Hand.

Q. - How did the idea of record the demo "The Power Of The Oath" came up?

Muz - Just a natural progression really. That was the path to get yourself heard and we heard of a local studio (Expresso Bongo) recently opened which fit the bill. So we went in and booked it for two days in the early Summer of '85 to record the three tracks. We decided we needed a demo to get gigs, attract an agent and to send to record companies. We achieved the first two!. I'm not sure if the demo was ever sent to any record companies. Probably not.

Q. - Did you get support in the media back then? Radio, magazines, fanzines?

Muz - Yes, to a degree. The local paper was the main source (Tamworth Herald) and the music editor was always a delight to work with as he was so enthusiastic about the local scene. Sam Holliday, take a bow... Their were a couple of local fanzines at the time, but nothing Metal-wise. We always believed in self-promotion and we would generally advertise the band as much as possible, albeit by word of mouth in those days of pre-internet.

Q. - After this demo, did you try to approach a label, to record an LP?

Muz - That would have been the original plan, but as I've said previously, it never actually made it to any companies. I think part of the problem was a couple of line-up changes and the band developing a new direction, which would evolve into an alternative rock edge around the Judas Cradle time. we were listening to bands like The Cult circa their Spiritwalker and Love albums and The Cure and Sisters Of Mercy. We did another demo a year later but by then the Metal was largely gone.

Q. - Do you have some other demo recordings, besides the 1985 demo?

Muz - Not of Sacred Oath, no. I have somewhere a cassette of our first gig at Tamworth Arts Centre supporting Scarab, who we supported around three times at the same venue. There is also a camcorder recording of our '85 appearance at Tamworth Rock Festival, but it's missing the cassette recording that makes it listenable. The sound currently on it is from the tiny microphone on the camcorder. Not great.

Q. - What do you think that went wrong at that time, so that Sacred Oath did not have continuity? When did you split exactly and for what reasons?

Muz - As above, with the change of direction and two line-up changes. We were growing up I suppose and tastes and ideas were changing. Bound to happen but it was fun while it lasted. Sacred Oath didn't actually split. We turned into the Judas Cradle then The Cradle and in six months we were history. That split was the usual musical differences and ego clashes that always goes on. In May '86.

Q. - Did you keep in touch with the former members all over the years?

Muz - Mostly yeah. I've played in bands since then with Jim who drummed for Sacred Oath (he could hardly play when he joined, but he turned into a great and versatile player of the tubs). Niz the bass player spends a lot of time in India but we catch up occasionally when he's back in Blighty. Paul went into business and I don't think he has any musical outpourings these days. Star Trek unfortunately is no longer with us. Quite a complex character, but a lovely fella and he evolved into a fine frontman with bands that followed the Sacred Oath days.

Q. - How do you see the heavy metal scene nowadays? Do you keep an eye on what's going on? Are you still a heavy metal fan?

Muz - Hmm. I've got to admit that I don't follow the Metal scene now. Classic metal a la Sabbath, yes and the NWOBHM stalwarts like early Maiden-first two albums-, Raven's Rock Until You Drop and Wiped Out. I still like Saxon's Wheel Of Steel and Strong Arm Of The Law and More's Warhead, too. To be honest, I probably wouldn't recognise a lot of what passes for the genre these days. I like bands that have metal leanings like Soundgarden and Rage Against The Machine. Probably the last album I bought that contained Metal in it's grooves would be Norway's Motorpsycho with their Heavy Metal Fruit album.

Q. - Have you ever think about doing a compilation on cd with the demos recorded by Sacred Oath?

Muz - No, because we only have them on cassette and I doubt the quality would suffice. They have been turned into mp3's in the past though.

Q. - And what do you think of this recent revival of the N.W.O.B.H.M., and all these bands reforming?

Muz - More power to them. Playing music is addictive and there's far worse things they could be doing. I've never been able to shake the bug of performing and these guys are the same. If any of them were as young as I was when I started, then they'll now be far better on their instrument than back then, too, so why not get out there and play.

Q. - Anything more you want to say, to end up this interview?

Muz - Only that I'm always surprised that Sacred Oath have attracted so much attention these past few years but I'm grateful for the interest and always happy to share some fond memories of the old days. Thanks all and keep on rocking!

Thank you for your time, and wish you all the best for the future!

Casablanca

Tendo nascido na Amadora no ano de 1982 sob o nome de Valium, alteraram o nome para Casablanca em 1988 e gravaram o seu primeiro álbum, "Tanto", em 1990, edição de autor. Mantivemos uma conversa com os irmãos Figueira (João, José e Jorge), sobre esta mítica banda do heavy metal nacional.

P. - Falem-nos um pouco dos vossos inícios na música, como surgiu a ideia de formar uma banda? Contem-nos um pouco da vossa história.

João - Era normal ouvirmos música em casa. Um amigo deu-nos a conhecer bandas como os Deep Purple (“Made in Japan”), Black Sabbath (“Vol 4”), Sweet (“Fox On The Run”), Suzi Quatro (“48 Crash”, “Can The Can”), Nazareth (“Hair Of The Dog”), entre outras. Ele também tinha comprado uma guitarra acústica que de vez em quando nos emprestava: fomos aprendendo a tocar, até que, um dia, a nossa mãe decidiu comprar uma para nós e um pequeno livro de músicas e acordes. A minha área era mais aprender acordes para descobrir novos sons e dedilhados; o Jorge era mais para a área dos solos e o Zé ficou no baixo. Começou a ideia de formar uma banda, mas faltava baterista e vocalista.

P. - Quais as principais dificuldades com que se deparavam nessa altura em que formaram os Valium?

José - A principal dificuldade foi monetária, pois os instrumentos eram muito caros nessa altura.

P. - E quais as vossas principais influências e grupos favoritos no início da banda?

João - As que já foram referidas anteriormente e outras que fomos descobrindo: Van Halen, Iron Maiden, Sex Pistols, Ramones, Motorhead, AC/DC, Manowar, Whitesnake, Metallica, Anthrax, Pantera, Accept, entre outras.

P. - Começaram logo como banda de originais, ou no início concentravam-se mais em versões?

José - Começámos como banda de originais.

P. - Em 1984, deu-se o primeiro festival de heavy metal em Portugal, que contou com a vossa participação, era a confirmação de um estilo de música que procurava impor-se?

João – O heavy metal já existia, mas era um pouco obscuro. Apenas as chamadas “Rádios Piratas” tinham programas específicos com este género de música. Começaram a surgir grupos que desenvolviam a divulgação através de fanzines e gravações de algumas bandas.

Jorge – Esse primeiro festival foi, justamente, a sequência lógica.

P. - Como caracterizam de uma forma geral, os primeiros passos do heavy metal em Portugal?

João - Ingénuo no bom sentido: havia um bom espírito de apreciar o que era feito pelas bandas, sendo as sessões no Rock Rendez Vous um exemplo.

Jorge – Até ao momento em que essa ingenuidade desapareceu. Algumas pessoas começaram a achar que não havia espaço para tantas bandas e fanzines. Surgiram os jogos de bastidores. A “concorrência” saudável deu lugar à falsidade.

P. - Que memórias guardam do Metal Stage, no Cine Plaza na Amadora, com Cruise, Valium, Satan´s Saints e STS Paranoid?

João - Foi uma enchente: soube depois que alguns dos que lá estiveram tinham vindo de longe para o evento. Os cafés à volta estavam apinhados e circulava-se com dificuldade nas ruas. Nessa altura já estávamos mais habituados ao palco, o que levou a uma boa atuação.

P. - Como se deu a passagem de Valium para Casablanca, sentiram que era o início de um novo ciclo? Uma vez que houve uma alteração tanto a nível de som como de imagem?

João - Já tínhamos gravado algumas maquetes. Apareceu a hipótese de gravar algumas com o Manuel Cardoso, fundador dos Tantra e Samurai. Ele gostou do que ouviu, mas achou que o nome Valium era um “downer” e seria melhor alterarmos o nome. Nesta altura também estávamos a mudar o estilo.

Jorge - Sempre estivemos atentos ao que se estava a passar em termos musicais fora de Portugal, ao contrário de muitas bandas que se limitavam a ficar “agarradas” aos mesmos clássicos do metal e a copiar as suas “malhas”.

P. - Vocês chegaram a lotar algumas vezes o RRV, com os vossos espectáculos, deixa-vos saudades esta mítica sala?

João – Claro, uma vez que fomos recordistas de bilheteira na primeira vez que lá aparecemos: foi muito bom.

José - A sala tinha condições para a realização de espetáculos, não só na vertente do heavy metal mas também em outros estilos musicais.

Jorge - Pois, mas só enchia com as “festas” e concertos de heavy metal…

P. - Em 1990 eis que chega o vosso primeiro LP, Tanto, ficaram satisfeitos com o resultado final? Sentiram dificuldades com a distribuição?

João - As maquetes que gravámos inicialmente tinham melhor som do que aquele que aparece no álbum: este está muito “limpo”. Como foi Edição de Autor, houve naturalmente dificuldades em distribui-lo. Ainda assim, conseguimos algumas vendas.

Jorge – Gravar qualquer coisa num estúdio profissional, naquela altura, não era propriamente barato. Muito menos no “Angel Studio”. Hoje em dia até se grava em casa…

P. - Depois de tantos anos como vocalista tanto dos Valium como Casablanca, o que levou o Paulo Silva a abandonar o projecto?

João - Não sei ao certo, mas na altura havia alguma tensão na banda por causa das namoradas. Também o facto de pensar em casar talvez tenha contribuído para o seu afastamento.

Jorge - Fama, egos, álcool, namoradas… enfim, clássicos da vida de um jovem músico.

P. - Sentiram dificuldade em encontrar um vocalista para gravar o single "Do Que Passou, Nada Ficou"?

João - Sim. Houve um período longo até descobrirmos alguém.

Jorge - O grau de exigência não era propriamente baixo.

P. - Nesta altura houve também alterações na bateria, uma vez que regressou o Rui Pereira, como se deu este regresso, apesar de breve?

João - O Rui apareceu por acaso e, talvez por nostalgia, quis regressar à banda, pois, afinal, ele foi o nosso baterista inicial. Também o facto de se ter casado afastou-o da banda para se dedicar à vida familiar.

P. - Foi depois da edição do single que entrou para a banda o António Alho, vocalista, que se mantém até aos dias de hoje, uma boa adaptação aos Casablanca?

João - Foi um acaso, pois inicialmente seria para fazer parte de uma banda de covers em que estava incluído o Quim, baterista inicial dos STS Paranoid, que nos havia contactado para o efeito. O Alho também já fizera parte dessa banda (STS Paranoid), mas estava retirado do meio. A partir da banda de covers foi convidado para integrar Casablanca, mas o estilo vocal dele nada tinha a ver com os registos dos anteriores vocalistas. Assim, foi necessário um período de adaptação, uma vez que passámos a escrever as letras em inglês.

P. - Durante os anos 90, quando se apregoava aos quatro ventos a tão propagada "morte" do heavy metal, altura em que a maior parte das bandas do estilo decidiu cessar actividades, vocês foram remando contra a maré com a edição do “Sands of Wasted Time” e do “Another Day”, eram tempos difíceis para manter um projeto de heavy metal ativo?

João - O heavy metal estava a mudar: quando começámos, cada banda soava diferente. De repente, ou talvez não, todas as bandas me pareciam igual com o mesmo som e a mesma apresentação. Mesmo hoje em dia é difícil aparecer Casablanca em festivais, pois estes são vocacionados para aquele determinado estilo, estilo esse em que não nos enquadramos. Ainda assim, ainda conseguimos atuar na altura do “Sands of Wasted Time” e do “Another Day”.

José - Foram tempos difíceis e hoje também não se afiguram ser muito fáceis. Nessa altura mantivemo-nos fiéis ao heavy metal e continuaremos nesse estilo.

P. - O álbum "Once upon a Wasted Time" tem grande potencial, mas no entanto parece-me que a produção do mesmo não ajudou muito, a que se deveu este facto?

Jorge – Ingenuidade. Por incrível que possa parecer. Achar que há outras pessoas que percebem mais de estúdio/mistura/masterização, no que diz respeito ao heavy metal, pode ser um erro. E foi. Estamos sempre a aprender…

P. - Parece-me no entanto um bocado estranho que tivessem decidido acabar com a banda exactamente quando o heavy metal começou a "renascer das cinzas”, a que se deveu esta decisão?

João – Saturação/desilusão com o que se estava a passar musicalmente... Falta de oportunidades para apresentar o nosso trabalho.

P. - É então que aparecem em cena os "Smoke on The Motor", projecto de covers. Sentiram que era uma melhor solução para dar continuidade à vossa carreira?

João - Sempre gostámos de tocar e a via para continuar a fazê-lo foi com os Smoke on The Motor, que já existiam em simultâneo com Casablanca. Quem não gostasse de som mais pesado tinha a opção Hard Rock, apesar dos termas escolhidos sofrerem o tratamento Casablanca.

Jorge – Além disso, uma banda de versões ganha mais dinheiro numa atuação do que uma banda jurássica portuguesa de heavy metal…

P. - 12 anos depois eis que voltam ao activo com duas grandes actuações, em 2017, no RCA e o Stairway, sentiram que foram dois concertos especiais para os Casablanca?

João - No primeiro, havia algum nervosismo relativamente à aceitação dos nossos temas, mas a receção foi além do esperado. As opiniões foram muito favoráveis, mesmo daqueles que nunca tinham visto um concerto nosso. Aliás, na segunda atuação, compareceram muitos dos que só nos viram e ouviram no RCA. No Stairway já estávamos mais à vontade e isso notou-se no desempenho da banda em palco. Mais uma vez as reações foram muito positivas.

P. - O que achas da falta de apoio das rádios nacionais, especialmente programas de autor, na divulgação dos sons nacionais de heavy metal?

Jorge - Quando começámos, havia muitos programas a divulgar o heavy metal (nacional e estrangeiro). Hoje, não. Há por aí algumas rádios online. O panorama só poderá ser alterado, por paixão. Mas a paixão, neste caso, não dá dinheiro...

P. - É mais fácil manter o projecto unido uma vez que 3 irmãos fazem parte da banda?

João - Sim, somente nós nos mantivemos na banda desde o início.

P. - Ponderam efectuar uma edição do álbum "Tanto" junto com o single "Do Que Passou, Nada Ficou" em cd?

João - Alguém já nos propôs isso, mas não há nada em concreto.

P. – Jorge, uma das frases mais marcantes que li numa entrevista tua foi: "o metal está-nos no sangue"! Proferida na revista Rock Power em 1991, será que o heavy metal ainda vos corre no sangue hoje em dia?

Jorge - Não tenho feito análises ao sangue, recentemente, mas quer-me parecer que sim. Compro cd’s de heavy metal, decoro a minha casa com adereços afins e continuo a ser (como sempre me considerei) um guitarrista de heavy metal. No entanto, é óbvio que a minha/nossa casta é única…

P. - Olhando para a edição de "Pesadelo Real: Anthology 1985-1988" que reúne as gravações de Valium, fica um sentimento especial ao ver estas músicas reunidas em cd?

João - Sim, pois faz voltar a ouvir coisas que fazíamos e permite perceber a evolução da banda. Claro que hoje já tocamos melhor, mas fica registado o empenho de todos nós nos temas gravados na altura.

José - É sempre gratificante ter num suporte digital e duradouro as músicas feitas nos primeiros anos da banda que estavam em suporte analógico e que se poderiam perder com o passar dos anos.

P. - No entanto houve músicas como a "Pandora" que ficaram fora desta edição, ficarão perdidas no tempo?

João - Algumas gravações não suportaram as condições climatéricas…

Jorge - Há coisas que, inevitavelmente, se perderam e se perderão. É a lei da vida.

P. - Chegaram a dar-vos o rótulo de "vedetas", porque se recusaram a actuar em certos eventos, na realidade, porque tal acontecia?

João - Não era uma questão de vedetismo, mas as condições oferecidas não eram as pretendidas para quem se esforçava tanto. Havia bandas a tocar gratuitamente, o que não entendíamos: isso só levava a que os donos de bares ou outros espaços de espetáculo baixassem os preços pagos às bandas. Também recusámos atuar quando éramos contactados em cima da data do evento, porque entendemos que devemos preparar-nos como deve ser para que o espetáculo não corra mal.

Jorge - Dou-me bem com o rótulo de “vedeta”. Continuo a recusar propostas para atuações. O panorama não mudou assim tanto. Cada vez há melhores condições técnicas para as bandas atuarem. Mas cada vez há mais bandas a tocar de borla. Nós não...

P. - Algumas considerações finais para terminar a entrevista?

Jorge - Obrigado pelo apoio. Vamos aguardar por aquilo que aí vem…

Votos de felicidades para o futuro e muito obrigado pelo tempo dispensado!