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Just over 50 years ago, man crossed the threshold of Earth's orbit

in search of new worlds unknown to him

This event marked for humans the beginning of a New Era

A door to new dimensions opened in the sky

And one day, the Rockets landed on Earth, and I with them.

I am here among you to help you remember the real story.

I am a big fan of the Rockets

Let's say I've known them since 1978,

the year they had a huge media launch

The way I met them is absolutely original

At the time I was eleven years old and studying drums

My parents had a dance orchestra

and one evening, while accompanying my dad with a piece

during a break, his amplifier was poorly shielded and picked up a radio

It was airing an instrumental song with space-like and electronic

melodic lines that were very reminiscent of Jean-Michel Jarre.

My experience with the Rockets had started, I'm going from memory

in seventy-six, quite a few years ago.

I was a student, going to school and part-time working as a disc jockey.

I received what was called a disco mix, which is a nice vinyl

of a song called Future Woman.

♪ Future woman, sexy planet ♪

♪ Future woman, pretty star ♪

♪ Future woman, sexy rocket ♪

♪ Future woman, still you are ♪

♪ Please give us your fantastic blood ♪

♪ Supersonic woman Tu as le mot magique ♪

♪ Magnetic woman, montre nous tes yeux Your beautiful eyes ♪

♪ Make us know you’re shining through the ice Through the ice ♪

♪ Future woman, sexy planet. Future woman...♪

A discographer from Milan sent it to me saying:

"I found a new amazing band, I want to launch them

What do you think?"

We're in the '70s

The '70s are a very fervent period,

there are many evolutions, freedom, transgressions, Hightech is born,

the first computers are born, and in the late '70s Rockets were born.

Who had the idea?

So let's say the main idea came from our producer Claude Lemoine

He took let's say a blues rock band, we were called Crystal,

who really did anything else, just blues and that was it.

And he said: "guys, going on like this is going nowhere. I have an idea"

And so he presented this idea of creating a group with

extraterrestrial appearance, playing extraterrestrial music

and a show of the same kind. So it was not just one kind

of music, one kind of show, one kind of sound.

It was the combination of these three elements

that made the Rockets' strength.

I saw them on TV and there was an immediate electrocution

because I saw something different from everything that was there.

I didn't know the story, I didn't know who was behind it

I didn't know that after a while I would start working with them

and it was an exciting adventure that lasted a long time.

So the idea of the look was also his.

Yes, he was a really extravagant person, extravagant person,

He had this group, it was called Papoose, in Paris

and they were all made up in silver,

however with huge wigs, like afros, orange, blue, etc.

Then he switched from the wig to shaved.

Also in '78 came Italy. Here it is, and it was an immediate dazzling success.

Why?

How can you give an explanation for this?

Was it a well-timed promotion, was it just the right moment?

As in all things, there's no why, there's never a reason.

We arrived at the right time in the right place, with a winning team

We had Maurizio Salvadori's Trident agency

that invested quite a lot of money,

believed in it, so they put money in.

My role at the time for the Rockets, but also for all the other artists,

was a bit of.. related to visibility.

Let's say I was attracting people. I was basically

organizing the concerts, either by selling their club performances,

which was the most common practice at the time. Than beginning to organize

concerts professionally as well,

so much so that we even did an arena tour with them, arena tour with them,

Let's say that consistent success lasted four or five years,

and those four or five years there were really explosive.

Let's say I was doing a little bit of everything: organizing concerts, press

office, trying to promote them in radio stations,

to follow what was their success,

then they had a French manager who obviously did not know the Italian market very well,

and I was indirectly supporting them as management as well.

Research file - Italian discography Maurizio Cannici

Maurizio Cannici, meanwhile to begin with, was a record producer from Genoa working at CGD

in Milan, who discovered international artists and released them in Italy

He had to launch them, promote them, so to promote, he used a whole series

of networks, including outside promoters, I was one of them.

So I met him as a promoter of his productions

we had become very close

precisely because of the Rockets cause I liked them so much

I wrote to him that I was promoting them particularly strongly, that there was a good feedback,

and from there we started to collaborate to the point that he invited me

I was going to school in Padua, studying electronic music, to Milan and said:

"Move, get out from your city"

I was still underage, I didn't think much about it

I packed my bags and

I moved to Milan, waiting to be hired at CGD, which was than the

Rockets label company, and to work in the office with Maurizio Cannici

The record label believed in us, chose to bet on it .

So you know, the project was interesting and innovative,

they decide to fund it, the tour manager believes, theoretically, some things have to happen, in short.

And then we ended up doing a lot more than we thought we were going to do.

Archival Data Recovery: discovery of the Band

When rockers came to CGD they were the superstars, who from nowhere and from an

unusual country that was France, came to Italy and made more success than the

artists we had of American or English origin.

Unlike other groups, there was no musical path that led them to popularity

I think that was the only time that

the first tour was organized on the basis of

about ten photographs that had been given to me by their manager.

♪ Electronic’s filling the air ♪

♪ swinging echoes from everywhere ♪

♪ Jupiter’s drumming is O.K. ♪

♪ the machine begins to play ♪

♪ electric delight... ♪

When I went to the owners of four discos

which agreed, because these photos were

at the time amazing: there were these four individuals dressed like Martians and

especially because of the laser thing, which had never been seen in Italy.

Let's talk about your hair and makeup,

because I guess it took a while to become Rockets on the scene.

What products were you using? How long did you take?

Did you have dedicated people following you around for that as well?

or is that something you created?

No,

at the time, we asked Paris for theater makeup, but silvered,

which didn't exist before. They made these silver pigments for us,

and we ended up with this makeup.

The problem was not putting on the makeup,

also because it took 5 minutes, instead taking it off was a disaster.

We consumed pounds and pounds of Nivea creams, of topexan, of towels.

And you always had some,

you took showers and showers

After a month, you still had some silver in your ears

There was always silver everywhere!

A fantastic group that showed up

with shaved heads and the face painted silver,

An amazing thing that was very reminiscent of the movie "Westworld"

which was fascinating because I loved science fiction

and I was also a fanatic about UFO and extraterrestrial themes.

Speaking of special situations,

I remember when we first did the Palasports;

they were known by the disco people, they had a certainly young audience

in the beginning because that's where they started from,

as I said before.

I mean seeing them in makeup was impressive,

and I remember once before a show, there were two

women who were cleaning who

around eight in the evening the boys were already ready and made up,

came through the hallway and stood in front of them.

They practically fainted, they let out a scream.

We had to try to reassure them,

they wouldn't stop, they were really, really impressed.

The look of the Rockets I would say was very innovative.

Here we are talking about the '70s, when

different groups and different artists were wearing makeup, like David Bowie or Marc Bolan, Kiss

there were already these things, but the Rockets

took this look to the extreme, even in their concerts

Producer Claude Lemoine had thought of everything a space scenario, UFOs,

lasers, maybe even lasers had

a lot to do with the group's initial success.

Unfortunately, and I don't understand why, there are very few photographs of these costumes.

One important thing about the look were the covers;

Claude Lemoine had chosen

paintings, paintings that were obviously fantasy

but they had a certain style, that was very difficult to describe

they need to be observed, explained.

And these covers however

had some impact on sales as well.

Rockets Sound Effects: Vocoder

I remember just because I was promoting them, that while there were difficulties with some products

instead when you brought in a rockets mix they, they would program it right away.

Then the choice to make certain songs, singles, was very well thought out.

Future Woman was something innovative

One of the features that was most

intriguing was the artifact vocals with the vocoder.

Later, Kraftwerk also used it.

They, however, were kind of the explorers of this repertoire, and They immediately realized,

on the next album, a cover of a band

called Canned Heat

a group doing blues with a famous, but not very famous song, which was On the Road Again.

With the vocoder effect

it was a smash hit!

♪ I'm on the road again ♪

♪ I'm on the road again ♪

The album immediately had tremendous success

because it blended disco music with rock and these spacey sounds

Plus, they were one of the first bands to use the vocoder, which is

this device that transforms the voice into a robotic sound.

♪ And my dear mother left me ♪

♪ ...when I was quite young when I was quite young ♪

♪ and my dear mother left me when I was quite young ♪

♪ when I was quite young ♪

♪ she said, "Lord, have mercy on my wicked son." ♪

♪ I'm on the road again ♪

♪ Take a hint from me, mama please, don't you cry no more ♪

♪ don't you cry no more ♪

♪ cause it's soon one morning down the road I'm going ♪

In '78, comes On The Road Again, which was a blues song, if you will, by Canned Heat

and the use of the vocoder also appears.

Why specifically On the Road Again?

So, even there, I remember,

I joined the Rockets at the end of '77 and after a month, but not even, I was in the Deca studio

with Claude Lemoine and Groetzinger. And Claude says to me: "I have an idea to do a cover."

"Let's hear it". And he plays us On the Road Again.

I looked Alain in the eye, and I said

"What are we going to do with this stuff here?"

I said, "Claude let me think about it for a minute"

So, I take the Minimoog and start looking for a sound, something.

Then I pulled out with the buckle:

Tu Tu Tu Tu Tu Tu Tu Tu Tu Tu Tu Tu Tu Tu

he's like: "ah stop, that's it! You have to start from that."

So, we started

from the Minimoog's Buckle and then after that the vocoder took over.

We had a German friend, Zeus B.Held,

who was the only one who had the vocoder, the Sennheiser, the polyphonic one,

because the others, like Kraftwerk, had a vocoder that was monophonic, so

one note at a time. With Sennheiser you could just make chords and so on,

so that's how we started; Zeus came to studios,

and we recorded with the vocoder, it was magic,

a crazy thing.

Also because On the Road Again, when you listen to it today, it hasn't aged at all.

Hello, my name is Zeus B. Held and I'm here to tell you a bit about the story between me

and the Rockets band, which dates back to 1977, when I discovered this particular instrument

by an inventor named Heinz Funk who lived in Hamburg.

At the moment I wanted to buy it, I went there

This machine is called vocoder

and I made some interesting recordings that were exactly as I wanted then,

with an electronic effect that I could change at will.

When I walked through this fantastic music festival,

I came across a booth that was playing the video of a band called The Rockets

The song was called Future Woman, and they were using a voice box

which was fine, but I thought that with my vocoder and this band with their following

we could achieve something more special

So, I asked to speak to their manager

and they introduced me to a certain Claude Lemoine

He said he loved my equipment, especially the vocoder,

and asked me to meet him the following week in the studios in Paris.

Now I will explain to you the basic functions of the Sennheiser vocoder

when we use a voice channel. There is an input cable with which I will say

"On the road again", yeah?

and here there are synthesizers that will replace actually your vocal cords

in my case, I intend to use a tenor lead

When I did the Rockets, I used the Polymoog and the Minimoog

you have to put the sound here

Then I mix it with the voice

♪ I'm on the road again ♪

♪ I'm on the road again ♪ ♪ I'm on the road again ♪

♪ I'm on the road again ♪

♪ I'm on the road again ♪ ♪ I'm on the road again ♪

♪ I'm on the road again... ♪

you can even try this typical gliding effect:

♪ again... ♪

♪ again..again, again, again, again again.. ♪

You can manipulate it with the rhythm control or in that case just

a little pitch wheel that in my case it's just the pitch switch here

Well, I go

♪ yeahhh ♪

And there we goes

This vocoder here, the Sennheiser VSM 201 has been here for about 40 years

built by Heinz Funk, who is no longer with us because he has left this planet

but my friendship with Claude Lemoine and the Rockets, especially with Fabrice Quagliotti has remained

and I am so happy to be able to testify that the Rockets

are still doing good work and pursuing this futuristic path

which will surely bring joy to people on the dance floor

Now I extend my greetings and wish you all the best, rock fans

and Rockets fans, and hope to see you eventually one day, goodbye!

What are the countries that loved and love the Rockets the most?

So initially in France we were loved, then it was short-lived.

a love that was really short-lived. France was not ready for that kind

of music and that kind of imagery.

In fact we were laughed at by the press,

"look at these clothes like this"

instead in Italy love struck,

in Russia so much stuff. also in Switzerland, in Germany

we did something interesting, also in Spain and Canada.

The Rockets are French.

The Italian market is where they have been most successful in the world. At first only in Italy,

in France no, and then later also in Central Europe.

So I would say that here the Rockets were welcomed by the public especially, but also by the media,

like nowhere else.

I believe in so many years I have never seen success come so immediately

because at that time, there were no social media,

so there was only hearsay.

Disco owners used to talk to each other,

and within two months, they came back

We did a sequence of whirlwind tours,

every few months, They returned to Italy

and success grew in an exponential way

despite at the time, the most successful groups in Italy

were the Pooh who had the leadership.

Then there were the Matia Bazar and New Trolls,

at that time, there were also the Cugini di Campagna. In that period there,

in those three four years there, they also had a huge success,

but the Rockets within two years,

I remember, were even more successful than Pooh.

We were doing outdoor concerts,

we had gone from the disco even to small sports fields.

Following the success of the new album's sales, the touring also increases

and thus more and more television appearances,

arenas, stadiums, and big concerts.

The set design also begins to be more elaborate,

so much so that for the Plasteroid tour a plexiglass cabin is used

that practically replicates the cubes seen on the album cover.

When frontman Christian Le Bartz

takes the stage inside this booth, he smashes through it and comes out like a raving lunatic.

Then he always had incredible charisma,

he was the one who catalyzed the audience the most, he incited them,

he was always very present on stage with his power, even physical power.

I tell this one because it's a story I experienced directly:

I was a young boy, living in Caorle,

a charming town near Venice, and you were in concert at the Caorle stadium.

To get to the stadium and enter the town there is an overpass.

Because we were kids and didn't have a lot of money,

going to see the Rockets at the time

also cost quite a bit, it was significant the ticket.

Five thousand Liras

Oh Yes, and we didn't have it.

So, what did we do?

We organized to all to go on the flyover,

only that this idea was not only had by us,

many other people like us had it.

And since there are only two roads to get into Caorle, the overpass was clogged,

there must have been two thousand people on the overpass who wanted to see the Rockets.

Police helicopters had to intervene,

I remember,

because people couldn't get in and out of the city anymore!

here but apart from that which is a personal experience of mine, are there any other anecdotes

that you want to tell, particulars that have marked your career?

I remember, I don't know if it was in Sicily,

I don't remember the place exactly, a stadium, we were in a stadium,

It was afternoon, we were rehearsing, and at one point we noticed a cluster of

staff people at the top of the stadium steps,

intent on yelling and pushing the barriers. There were guys trying to get in from the top,

they must have been one hundred feet up, and these crazy staff people were pushing them down.

So I went off, alarmed, I don't remember anymore whether with Alain or Christian to stop them, "you guys are crazy,

leave them alone, stop!" These things were also happening.

And it happened that people who didn't have money tried to get in without paying,

I understand that.

Search for recognitions: Prizes

It may have been the first time that the live show

led to success, without having

radio or recording success.

They were just perceived as big stars.

The Plasteroid albums of seventy-nine and Galactica of eighty established you as

a top-notch band, and your performances became more and more spectacular.

I remember that you also won, if I am not mistaken, the telegatto in eighty.

Yes. Absolutely.

♪ It's been a long time since I watched from the stars ♪

♪ all the way down, as I travelled in time ♪

♪ full speed ahead as I passed over Mars ♪

♪ I saw the Earth, I knew it was time ♪

♪ space map appeared on the video screen ♪

♪ the rising sun illuminates the scene ♪

♪ Crossing the sky, flying outta sight ...faster than light ♪

♪ that is how it all began... ♪

More and more spectacular performances, why? Was it by choice?

That was a choice.

I grew up, in fact, with this way of performing:

The music, the image and also the show.

Also because the important thing for us

was the audiences who came to see our concerts, who still come to see

our concerts, were an integral part of the performance.

They have to be catapulted into another dimension.

So The show can't just have four little lights.

It has to be a tights between the image and the music.

So everything was studied,

depending on the piece, the type of light: brighter or not, the laser we studied

it in an exquisite way, the smoke machine, the low smoke, the flares.

I must say that for the time,

it was a show really crazy.

♪ I am programmed to help the human race ♪

♪ I speak your language and I've come today ♪

♪ to solve the problems you've now got to face ♪

♪ you used to crawl, you had lost your soul ♪

♪ poor mankind, now the time is right for change... ♪

♪ Galactica... ♪

The Rockets' live shows were unique

and then cutting edge because they had

technology that was available for very few.

They were the first to bring it to Italy, then they were followed by other groups, but few,

and they had another characteristic;

they were dragging, they dragged the audience,

so the shows that I saw first as a fan and then as their recordist

were always packed.

Tecnologia Rockets: Laser

I, as a huge Rockets fan, have always been very fascinated

by laser effects and this has since become a profession of mine.

Indeed, the Rockets are really among the very first bands, if not the first,

to bring lasers and their effects to stages.

Other names might of course be Pink Floyd or Pooh,

with whom they have the diatribe over who brought them first,

but let's talk about the Rockets.

Concert starts, first row,

the lights go out in this disco with low ceiling,

laser on the mirror glass bowl, spun the laser,

it looked like a plane was starting,

already there shaking the floor:

"my goodness what's going on!"

Through mirrors that swirled around, one could create cone-like figures,

for exemple, like the ones

Alain Maratrat was hit with when he did the Future Woman solo.

We were dazzled for a few seconds,

shocked. We opened our eyes and saw Maratrat

two meters tall, clean-shaven, dressed as a Martian, emerge from the smoke.

We were petrified. Even now I still get goosebumps recounting it,

we were surprised by this one.

Then there was Christian, Fabrice, Little,

me and all my friends were amazed,

we had never seen such a concert before.

The songs also got a lot of response

from radio stations and the media, but more so from the shows, because people

who went to see the concerts wanted to come back and especially reported that

they saw a unique show and wanted to bring their friends or other people:

" I saw something I had never seen before."

Oh, beautiful night, unforgettable,

the next day we arrive at the disco in our small town,

outside the disco we tell

about our night; this adventure with this amazing group that

no one knew yet. We were telling with

so much enthusiasm that all the people

had stopped outside, and no one was yet entering the disco.

The owner came out to see, "what are you still doing at the entrance?" And nothing, we were telling

this story. That's how we introduced the Rockets to our country.

♪ ... boogie star ♪

♪ sci-fi – un autre boogie ♪ ♪ sci-fi – madame veut revenir ♪

♪ sci-fi – boogie star... ♪

♪ ...yeahhhh ♪

So the rockets' laser

was a huge, water-cooled machine with a lot of power

consumption so something that was difficult to take on stage,

so really a machine that lent itself poorly

to going life on the road and on concert stages.

But the effect was

so sci-fi, so outstanding,

that it was a great effort and

something that made the rockets absolutely unparalleled.

But how many people used to follow a rockets tour?

Calculate that the staff was three Trucks so it was about 27 people.

My goodness.

I had the privilege of being around them

all the time, trying to be around them to glean some secrets,

to know what they would do, to know how they constructed certain songs.

Then little by little I found out that

the architect in large part of the whole rockers' world was their discoverer

and producer Claude Lemoine. He met with another person who did the other

half of the work who was Maurizio Cannici, and a unique understanding was born

between the two, because they were two adult people, very capable, but really two children.

There was a form of childishness in both of them.

Maurizio was a collector of toy trains

and Claude similarly of objects,

something to do with the world of robots, aerospace.

Only in the working world instead of playing with model trains or robots,

they were dealing with big things, so the laser was not something

you could see on a small screen of a video, but they were using a giant laser,

it was the first and also the most powerful.

How was the laser effect structured on the rockets' stage?

Well, there was of course the laser, that is the very equipment that generated the laser beam

and in those days the laser employed was a gas laser.

The rockets' laser was an argon laser. That is, it used argon gas,

and this gave the characteristic teal color of laser beams.

This part here is the optical bench and this is our laser.

Of course, I no longer have available the eighties gas laser,

the huge machine that I described to you earlier. It has been reduced with modern laser

diode technologies. Today a laser of the same power as the one that was used in the eighties

by the Rockets is the size of a shoebox.

With the galvanometer system and computer management,

the only limit is imagination.

We can with the computer create completely new figures,

...of any color, of any geometric shape,

and so we can also customize each track of live rockets with new

figures and new sets created with lasers.

Look, but what do you think the Rockets would have been with today's technology,

or rather,

are there any dreams, in quotes, of the era that you guys could have played

but didn't have the means available to you in the seventies?

No, sound-wise no, show-wise yes.

Because we had a crazy idea that was crazy:

we had to organize a concert with two bands;

the Rockets and the Visitors. The two stages were going to move,

kind of do a star wars, only

it really cost a boatload of dough,

we never did it.

Then in the end the ideas are there, the money to do the good things are lacking.

In fact many times I see artists with famous names

who have crazy services that cost hundreds and thousands, but no ideas.

Whereas there are other artists, like Billie Eilish

who do beautiful things with lots of money.

So in the end it takes more than money, it takes money and ideas.

I can say I've closed the loop, so

I started as a rockets fan, got into lasers,

started a business specializing in laser shows, and now rockets are my clients,

so I can say I've gone the extra mile.

Confidential Files: Unexpected Events

Oh man! I remember moments with the Rockets,

we'll talk about that later, that really left me speechless.

I was a huge fan of yours,

still I am

and I lived, but we'll talk about that later, because I have a question I want to ask you instead wich comes to mind:

during your concerts there were lasers, special effects, bazookas,

flamethrowers, everything was happening, but did accidents ever happen?

Did anybody get hurt?

Yes.

From time to time, yes.

With all the affection I have for them, some trouble they gave us,

because for example during the concerts we had explosions,

effects of fire, of barrels, etc., etc.

I remember that at the Altro Mondo in Rimini the audience was too close to the stage,

surprisingly there were these explosions

and that time there we had two

or three people who got a little burned, let's say,

trying to downplay the situation.

During Venus Rhapsody, at the beginning,

when the drums start, there were bombs. At that time they were

sort of lead bowls, filled with at least five or six inches of

magnesium, etc., and there were crazy explosions. And there was a boy

who had rested his head on the bowl. There were technicians making signs at him,

"No! Get out! Go away!!!", Boom. The bomb went off and this guy got all burned up,

went to the hospital. We all ended up at the police in Rimini,

at the carabinieri for twelve hours more or less.

It happened to us that in France, in a club, we had aimed the laser at this club,

I remember it had beautiful wooden beams,

only the technician went away to have a whiskey, something,

and the beam started to burn.

There are so many episodes, even with the bazooka

they would inadvertently start rockets... Of the rest it can happen!

The hazard of the trade.. [Carrera] It's normal.

I remember that the concerts were a riot of lights, of lasers of colors, of explosions

because they had crazy stage gimmicks

like Wood's sword that was a tube with a black neon light

which at one point was thrown to the ground during the performance of Fils du ciel

and then there was a giant explosion,

even there the explosions were not controlled. They were a bit almost outlawed.

Here we can even see

a pyrotechnic object of the kind they used during concerts.

I mean they were also kind of the forerunners;

they would jump into the crowd

sometimes, some other times

they would get too close to the audience.

On the other hand, it was part of their music

there was always total involvement and

really the audience had a good time as I have seen in few concerts.

Look, let's go back in time.

Is it true that in the early eighties, you and your concerts were often subjected to

protests by the left-wing autonomi?

Why?

... I think they haven't changed; the autonomists from the left or extreme right

are always there to break the balls.

Let's say we had a very big problem

in Milan at the Palalido:

there were these autonomists who started during the concert to throw

bolts, iron bars, wood... In fact, I remember, I was playing,

I don't remember anymore if it was an instrumental piece

And at one point I'm like "What the heck is the drummer doing?"

"He's out of time!"

At one point I get hit in the hand by a bolt,

and about two seconds later I got two technicians with flycases over my head

to keep me playing and Christian was there in the middle of the stage,

he got pissed off, messed up, stayed, and then we left.

here were these infiltrators who felt like messing around.

I think when you're not satisfied with something it is okay to express your dissatisfaction,

however not to break, to ...burning, hurting.

There was a car, a Ferrari overturned and burned.

One has to explain to me what they got,

nothing. And so we also had a problem in Bergamo,

we were supposed to do the concert, it was canceled because there was a bomb under the stage.

So a little bit of unsympathetic episodes.

But there is also to say that before us, when we started in seventy-seven in Milan,

a month before or two months before there was a big accident

with Santana, a technician died. I mean there were big messes at that time,

Italy was in a hot moment politically far too much,

in short.

In the eighties it was a little difficult to understand where the concerts were

because life was different, there were no cell phones, no Internet, no one knew anything.

To find out where the Rockets' concerts were, what was done?

When they released a new record,

it was advertised in "Il Monello," "Intrepido Boys,"

in "Sorrisi e Canzoni" those newspapers back then.

And the dates of the eventual tour concerts were written on it, right?

Sometimes, however, they were not respected,

so what did you do? You had to trust;

You had to trust

you would leave, as it happened several times,

we left maybe by train,

we went to Lodi,

we were looking and going around, and the concert was not there.

Musical genre: Space rock

Look, your genre has been called Space Rock, a genre that talks a little bit

about the future, about new worlds, very particular. Is there a personal

background of yours that went into this creation of this new genre?

So when I had not yet joined the rockets, in Tanlay,

so in the north-central France,

where they lived, they used to have these séances now and then to look for

extraterrestrial ovni, it was an amazing thing. And some kind of weird things happened, too.

And so there has always been this passion for extraterrestrials.

I wanted to be an astronaut as a kid, then later I wanted to be a jet pilot,

so there's always been this curiosity about everything that is space.

So it wasn't basically a passion

for technology and computers, just for extraterrestrials!

my dream is to be abducted,

To see what happens from there would be amazing.

If we want to talk about difficulties, there was some of it

with the media, because the Rockets were not

coming from what were the areas where there are schools of rock,

which are mainly American, or partly English rock music.

Although they say they were inspired by Led Zeppelin's music,

in the rockets'records I find almost nothing

of Led Zeppelin's music in them

and the contaminations of all this new technology,

the Moog, the synthesizers, the vocoder that they had put in,

especially at the behest of the producer Claude Lemoine

moved them away from what they were

the matrices of rock, from which they said they came.

They called it space rock, but there was very little rock about it;

the rhythms, the type of sonority fused with other new sounds

was quite novel, so it intrigued, they liked it, but it was not authentic rock.

To this day, how are you considered in France?

Because there are some groups that in my view have been strongly

influenced by the Rockets. I think of Daft Punk rather than Justice.

Here, but do you think there is something of your own in a concrete way

in their birth and their sounds? Beyond the use of the vocoder?

No, this is a detail. So, absolutely yes. One hundred percent.

I have to say that the daddy of one Daft Punk,

who was the first producer, he was always with us in the studio,

He loved Rockets very much.

He told us, so in an indirect way he was influenced; look at the picture,

helmets, we as Rockets in seventy-six also had a helmet, but not because we liked the idea of a helmet,

one of us didn't want to shave. So "poof," a nice silver helmet and that was it.

I think of the suits we had had as bikers,

leather etc., the musical genre was that. The difference is that they

worked on loops, so their genre is more modern because they started

in the late nineties. Let's say Daft Punk arrived at the right time

to make that kind of music, we really arrived earlier. At least twenty years earlier.

We had to arrive after to break through.

and it was hard to win over the journalist community as well,

in fact they didn't have much of a press following, except for the big hit

that then journalists were almost forced in some way to review,

speaking well of a concert that had had so many people. They were doing so

chronicling a success, but talking as the new talent of rock,

the future of rock, as happened with Springsteen, no that didn't happen.

I would say with the radio stations it went very well,

with the shows very well, with the press, which was much more

important then than it is today because it determined trends a little bit,

they were not lucky.

It was very difficult uphill work.

Here, you are talking about studio work, creativity, but

when you were with the Rockets in the

big hit period, there is a song that you while composing it

thought "this is a hit" and instead there is another one

that you thought could be a hit and didn't become one or instead a song

that you didn't give much importance to that later became one.

No. Let's say the only track where we said,

"This one is a hit," is Non Stop, in Alienation which never came out.

In fact we were pissed to death.

It's not possible. Even when we did Galactica.

You know, when you make a track, you say

"it should work" because everything is there,

there is the gimmick, there is the right structure, the right sound, it should go.

With Future Woman, same thing, it's a

great track, it's a forerunner of modern house.

Electric Delight less so, it was very successful, however, I didn't like it.

Of course, I don't really test, I mean in the sense that I'm not the record-buying public, you know.

I love some minor tracks, for example I love Back to Your Planet, One More Mission,

those are some tracks that are not among the best known that I really like.

However, the one track we really

had a lot of focus on was Non Stop, which unfortunately

saw the light of day only a year ago.

I was already listening to the music of the Rockets

in the one thousand, nine hundred and seventys, but I didn't know anyone from this group yet,

although I often passed by their record company, CGD,

where I met Cannici and Silvestri, but I never thought I would meeting them.

In 1990 I met Fabrice Quagliotti and so by having a chat he revealed

to me that he was part of this historical group.

A few years later, actually two years later, we thought about remaking an album,

there was maybe also Alain Maratrat as a historical artist,

and Fabrice was always produced by Claude Lemoine, the great producer of

the early albums. I was able to place the album with

Universal and it had some success because there was a hunger

for this group.

Rockets' Identity: Who they really were?

I had the good fortune in my life to meet the Rockets

in the eighties, when my friend Angelo and I decided to go to Brescia.

After the concert is over, we look behind the stage and see a girl who

I had already seen in a newspaper, the famous "Monello" that came out at the time.

I recognize this girl and say, "This is Fabrice's girlfriend."

We try to call her, "Franca, Franca" she hears us and comes closer.

"Hi listen, we are fans, friends of the Rockets, I would like

to meet them, we come from far away, we come from Novara,"

we were in Brescia

I insist, "Come on let us meet them!" She says, "Let me ask."

She went into the dressing rooms, after a minute she comes out and says:

"okay you can come in". Guys heart racing.

I walked in, I had a white T-shirt drawn, I had drawn it with rockets on it,

and I swooped in and jumped on them.

They were young at the time, they were twenty-five to thirty years old

They see this seventeen-year-old kid yelling

"Rip my jersey off!" I said.

I had my jersey ripped off to get something of theirs, I had autographs on my arms,

I had lost my marbles

and these guys here took a liking to me. Back home, I was over the moon.

Of all the rockets I've known, all five rockets I've known,

the best relationship I had was with Fabrice.

Fabrice was closer to our age, he lived

here in Italy and we were very close friends

even now, I follow him, we talk, I follow modern rockets.

The Rockets among them were very very close-knit,

they were not just the ones who saw each other for a few dozen minutes on stage,

there was a great fellowship, even artistic fellowship.

The Rockets

did not give much confidence,

they were people who lived in a kind of community

and so they had their entourage among them - musicians, technicians, assistants

and then above all they were always on the road,

they had an amazing success that put them practically

on cars, on trains, on planes every day, all year round,

so the very few free moments

each of them were trying to spend there with their affections, with their family,

they didn't have time to socialize,

which maybe other musicians have had, then in the post-success

years even the Rockets had,

because I kept hearing from some of them.

With Fabrice we have known and heard each other for forty years basically,

but I started to hear him more and especially after

the Rockets adventure ended, that he was no longer busy, twelve months a year

between rehearsals, recording rooms, tours or promotions.

Before, they were a bit shy, so they hung out with each other,

not all of them spoke Italian, or rather after

some forced stay in Italy

they understood Italian, but not everyone spoke it, they didn't speak English,

so what was going on,

socializing in an environment

like Italy was difficult, it was a sort of a closed community.

In working with the Rockets I have only pleasant memories,

the guys all were of a humility, of a professionalism

almost unique. I worked with all

the Italian artists but they

were somehow naturalized Italians at that time,

And so aggressive they were on stage,

so much they were so kind in the everyday life, I would say all of them

there was not one,

of course then everyone had their own characteristics, there was the more

expansive one, that one less so, but I must say it was truly a pleasure to work with them.

And also the manager, who was a fool, because

Claude to be able to bond with such a group

and carry on such a situation, he had to be a visionary in some way.

Even with him it was a job that gave me

great satisfaction and somehow it has remained,

because even today in the memory of journalists

or at any rate those who lived through that period the success of the Rockets remained ever-present.

With Alain, yes, We also used to call him Alain Guitar, because Alain Maratrat didn't like him,

and I find that he was a very important component,

he definitely made an important contribution to the Rockets,

both from a compositional point of view than in the recording studio,

because when we were at work

he knew exactly by heart In each track of the mixer what was there.

It's not like now that there are so many computers,

there are summers, etc. I mean back then everything was done

analog and manually, so we are talking about the late seventies or early eighties, forty years ago,

Having on the head what is in two hundred keys, channels, was the top.

He was technologically and also musically very knowledgeable

and contributed a lot, so I spent more of my time back in the day with Alain Maratrat.

Little was nice, very nice.

Fabrice was

friendly, however Fabrice was also

the handsome one of the group, so in the way he is always a little vain.

He felt very much admired

There was

...the frontman who covered everyone else a little bit from a personality point of view,

however, Fabrice still knew how to stand out and was a nice presence on stage as well.

nothing, Christian was the superstar

for whom when he came he felt that he was

the most watched and the most noticed,

the leader of the group on stage he was also a leader at the table,

however friendly people, very friendly

I would say that the topics of discussion almost never went personal,

almost never on topical subjects,

we didn't talk about soccer.

They were very focused on their own activities and this

was also happening with the producer with whom I had a very important relationship instead cause when

Claude Lemoine was in Italy, he was here, he was always either on the record label or on stage

with the Rockets or with me. so he would not come to the recording studio, I would go there, he would send Alain Maratrat,

however first he would give me a briefing on how things should be done,

how he had imagined a song, why he had done it, what came into his mind,

what he was inspired by, so I think Claude was an element,

it's like he was the fifth, sixth, seventh Rockets himself and he lived with them.

Yes.

While Fabrice, like the Rockets,

I remember them having a reverential attitude toward Claude Lemoine.

after a performance there was dinner at a famous restaurant in Milan

where the Rockets had arrived and

Fabrice had arrived, as he sometimes did, in good company,

there was always someone trying to sneak in,

among them were young girls as well.

Let's say Fabrice he never gave so much rope to these,

if anything he would bring his girlfriend, he had a girlfriend with whom he was very much in love.

And during the discussion, I remember, while there was this big explanation,

Claude

like in school made a clap of his hands,

then as if he caught the students talking while he was explaining,

all of them shut up: " no, you must not talk

I'm explaining things that you need "

so a rebuke to everyone and also to the girls present.

"You are here guests but not to interrupt!" All in French.

And he apostrophized everyone present and also the girls including a couple intimidated,

One who was next to Fabrice

looked at him and said: "J'ai rien dit." I didn't say anything, I was quiet.

"no, you have spoken, when I speak,

you all need to shut up!"

"J'ai rien dit".

she picks up, gets up, and leaves.

Fabrice thus gets up and leaves as well.

and Claude pointed his finger at him, stood up, Claude was tiny and said:

"Fabrice si tu t'en va, tu t'en va de Rockets",

if you leave the room now and leave, you also leave the Rockets.

Fabrice turned only to get his jacket and did not answer,

he took under his arm

his woman and left, making it clear to everyone

that the affection he had for his partner

was more important to him than everything else.

And this was a scene

that earned Fabrice esteem from his colleagues and everyone present.

Group evolution: Transformation Look

Later, in the one thousand, nine hundred and eightys, New Wave and Punk

will be born at first, but you also change a little bit of style

♪ Cerveau informatic ♪

♪ control test bionic automatic ♪

♪ suis l’hotesse ma voie est magnetic ♪

♪ anti-stress dans l’idiomatique ♪

♪ ideomatic for me looking for you ♪

♪ Ide-o-matic ♪

♪ Ideomatic for me looking for you ♪

Because you come to the stage in some circumstances

even dressed as bikers, as doctors...

Was this the right choice?

Why did you do it?

Why did we make it?

So, our problem with us Rockets is that

when such an image is nice, but you are captive

And we had to, after a while, freshen up, renew, try to move forward.

You can't dress the same for decades,

something had to be changed. I would have continued,

I loved the image of the shaved Rockets

dressed as a cowboy. It reminded me of a great Yul Brynner movie, Westworld,

and for me it was a right image.

♪ Be beside me at either hand with me wherever I go ♪

♪ be before me, behind me stand around, above and below ♪

♪ morning rising moonlight shining ♪

♪ armies fighting under, under the sun ♪

♪ only you in my thoughts I find in the very heart of me... ♪

Where we went wrong:

we shouldn't have taken off the makeup,

we should have continued silver,

shaved with any kind of clothing;

dressed like that, with the tuxedo, it was a winning thing for me.

The fact of change was right. Maybe a few little things could have been fixed,

but you know, hindsight is always easy to talk about.

Then it's not necessarily that it would have worked.

When the Rockets started to change their look around 1980 it was the time

of the New Romantics, and so in my opinion it was not very guessable.

They had suede clothes, they were no longer bald!

Which to me is a big thing. ...you can understand it, can't you,

because ..I am also a kind of Rocket.

We are around one thousand nine hundred eighty-six

when a new album with a three-man lineup came out.

This album is called One Way

and it is very different from all the previous albums, because it winks a bit at

the New Romantic, at the New Wave that was going at that time.

♪ On until the end of time searching far wide ♪

♪ searching far wide everyone of us trying to find a love ♪

♪ come with me, your wounds I’ll bind and my food divide ♪

♪ reach out here’s my hand now, forever and always we will stand... ♪

even at some points they are a bit reminiscent

of Depeche Mode, and as a look we are close to Duran Duran,

elegant, however, beyond that change, plus, they have grown their hair,

they have the latest fashion cuts,

and we have an album that is anyway recorded very well,

reproduced very well, has very powerful sounds.

♪ Let me be your friend, your guide put your fears aside ♪

♪ all your fears aside, everybody must have someone to trust ♪

♪ so I’ll give to you a sign... ♪

Let's leave the eighties, let's enter the nineties which is a completely

different decade because you start to understand what globalization means and what it means

and you come out with an album Another Future which, however, does not enjoy much promotion.

In the nineties, on the other hand, paradoxically,

as it were, the Rockets phenomenon takes on even more importance,

even more prominence, on an iconic level,

because tributes are born: I remember "Elio e le storie tese" in Sanremo

for example who had the Rockets' look but not only that, but other situations

like that. There is a kind of mythicization of the Rockets. But hasn't this

mythicization of the Rockets character kept you then bound, if you will,

precisely to the character of the extraterrestrial and so you can't get out of it anymore?

That's what I told you: when you have such a strong image, it's not at all easy

to get out of it. Now we have an image,

I reviewed the image with a designer who works with me who is Cinzia Diddi.

I told her, " Cinzia, I want a uniform that reminds me the seventy-eight," not the eighty, I don't like the uniform of the eighty,

too elaborate. The 78, the 77 was beautiful. So that reminds me of that period in a modern way.

In the end we came up with this look that I find beautiful personally

which we presented at the Verona arena, then there may be two arrangements, we'll see.

in such a way as not to

To be too aloof, however to also be aloof. I don't shave my hair,

I might as well , however I have a lot of hair why do I have to shave?

And so I keep my hair. But let's say, though, that the image I think is very modern,

being very reminiscent of the rockets that were.

♪ that is how it all began ♪

♪ Galactica , Galactica ♪

♪ Galactica , Galactica ♪

♪ Galactica, now the time is right for change... ♪

♪ message to you from the robotic race... ♪

♪ ..hear the Rockets ♪

We recently had the good fortune to see the Rockets again

as guests at a major event in the historic arena that is the Verona Arena,

and they were invited by Amadeus for the Suzuki Arena where they did a medley

of the most famous songs, namely Electric Delight, On the road again and Galactica.

And they reappeared for the occasion with a space-themed stage outfit again,

a bit more modern but still again silvered

with special, glowing glasses that are already a spectacle in themselves to behold

because they are somewhat reminiscent of the science fiction movie Tron.

In the early days the rockets were known in Italy,

a little in Russia, in Kazakhstan, in Ukraine, in Belarus,

countries that one would not imagine.

Now there is a change,

the group has been rediscovered by countries like the United States,

England, Germany, Switzerland, even France.

It pleases me of course that these people

are discovering the music of the historical rockets,

but it pleases me that they will also go and discover the new things we have in preparation.

You have continued over the years, from the 2000 to the present, to carry on the Rockets,

the band name. The Rockets of today, let's say,

are kind of the 2.0 version of the original Rockets.

Here, but have you still kept in touch

with the other elements of the band? Do they continue to play music?

So I update regularly with Alain Groetzinger who is the drummer and Alain Maratrat the guitarist.

Alain Groetzinger he occasionally plays experimental music, he says, "I don't

give a damn about selling, I do weird stuff and that's okay."

Alain has always been like that.

Alain Maratrat recently started composing again

and opened a YouTube channel,

he put some very interesting instrumental pieces by the way.

However, in the meantime Alain had also made Jordy with my producer

"Dur dur d'être bébé" made music and made a thing... millions and millions of records worldwide,

that is, incredible stuff! Alain is a genius.

He was the genius of the Rockets, really.

So I keep in touch with them, both of them. With others, no, but the two of them do.

We have said before that you have been

an inspiration to so many artists worldwide.

Here, but is there a group or someone that you, that you feel can be

considered a full-fledged heir to the Rockets?

Daft Punk.

Absolutely.

Justice no, Daft Punk yes.

Confidential file access: Alienation

Despite the fact that you had stated

that you would not release anything more, Alienation is coming out in 2021.

What can you tell us about that?

But here I stop you, then I said actually with Wonderland

in 2019, for me I had closed the Rockets' record cycle, and that was it.

The album is very nice, very sophisticated and it also contains a nice cover of Freur

whose name is Doot Doot, rearranged and reconstructed rockets-style crazy

An absolutely must-have Album

that came out in different types and colorations.

It came out in purple vinyl and orange vinyl, always sounding very Rockets.

As for Alienation,

there is to say that Alienation, I have all the Rockets masters,

has always remained in the drawer. Partly because I didn't want to release it

while there were still new Rockets records.

Finished Wonderland

with Roy I said, "okay well, it's the right time to bring out Alienation."

Alienation was the record that was supposed to come out in 81 instead of π 3,14.

in fact the big cracks in the Rockets started there with π 3,14.

After the immense success of Galaxy,

came an album that no one ever expected, in the 81

which is the infamous, say, π 3,14.

Unfortunately, people expected the usual record, they were used to hearing certain sounds

from the beloved band that had completely changed.

And there was no longer

the same following as there was before,

because so much had changed; at the stage level even for the first time

the Rockets showed up in completely different stage clothes.

I didn't even mind them that much, because as we said at the beginning,

they also showed up dressed as cowboys, and they made a nice contrast

because if we go to see the movie Westworld there was really

Yul Brynner playing a shaved cowboy dressed just like them.

But the problem was not that,

the problem was that when they recorded the record, practically the songs were not written by them,

but they were written and even in some cases performed by musicians from the Visitors,

which was the band launched laterally and at the same time as the Rockets by Claude lemoine;

a French band that made beautiful space rock,

however much closer in sound to metal.

We refused to play the record, because they are not our songs,

I don't play them, I don't do the keyboard,

I don't do anything.

There are two tracks left from that album

that were supposed to come out in Alienation,

and so I said to myself, it's only right now to bring out this record for Rockets fans to listen to

what was supposed to be the legacy of Galaxy.

In fact for me it was a glaring mistake.

My role with the Rockets is to curate the catalog. That is, also to keep on the

market albums that would have disappeared.

With Fabrice

we started to do CD box sets;

Fabrice had an archive

of photos, videos, of alternative versions and so we gave new life

even to the fans we could give extra material.

Maybe the secret is to create collectibles,

as new fans discover the Rockets they all want to go back

and listen to things that maybe they didn't find easily.

My role is to keep these albums, these things

at the forefront, on the new platforms that are out there, that is, not just digital.

Also the resurgence of vinyl has given us the opportunity

to incorporate unreleased tracks, unreleased photos and create

products that are very beautiful, limited, very collectible.

existed for a long time, this possibility of producing this record.

Well Fabrice was able to pull out these original masters, worked on it quite a bit

and came out with this album which is fantastic;

where there are all the sound tracks still with the original vocals from the time,

and with all the musicians from the historical lineup. This album is called Alienation.

♪ all upside down never the same ♪

♪ you ride on the stars and fly to your destiny ♪

♪ the feeling inside is all but security ♪

♪ non-stop, non-stop non-stop, non stop ♪

♪ you've got to run for your life ♪

♪ non-stop, non-stop non-stop, non stop ♪

♪ you've got to run for your life ♪

A particular satisfaction I had in the 2019

when by chance I got an email

from Roscosmos. Roscosmos is the Russian NASA.

The person writing to me was a robot.

A very very peculiar fact, true. Fedor 850 was called this robot.

This robot was supposed to travel to the space station on the 14 of August,

I still remember. And they were also asking me not to talk to anybody about it,

you can imagine,

I wanted to talk to everybody but it was also summer,

it was going to be the first time that a rocket would leave from Russia

and go to the space station without astronauts on board.

There was only one robot, obviously controlled from the ground.

I was asked if I wanted to accompany this trip with a song by the Rockets

it was Electric Delight in this case, and of course we gave permission

and then, the Robot, also wrote me that the music of rockets

was the favorite music of several astronauts

as well as the president of Roscosmos.

In fact, that's how it happened;

I couldn't talk to anyone, it was a secret,

the rocket took off for the space station in August

and if one goes to YouTube one can see this trip.

Recent files: Fabrice Pascal Quagliotti

We always talk about electronic music

and the Rockets project, and that's normal, we are talking about that.

But in private, what does Fabrizio Quagliotti listen to?

...what do I listen to? What music do you listen to?

So, I grew up musically

with my dad, who listened to classical music and opera music.

And my mom listened to jazz, etc.

I listen to everything, except reggaeton,

which I can't stand, I can't. But classical music I love;

pop music, dance music, whatever, everything.

The things that I think are done well I listen to with pleasure.

You have been living in Italy for years now,

how do you judge the Italian music scene?

There are some very interesting things,

which are not what you often hear most.

However, there is one Italian artist I love is Caparezza, for example.

Yes! great.

You've already answered my next question

which would have been who would you have liked to collaborate with. [Quagliotti] With him. Absolutely. Yes.

Tony Hadley did, are you a little envious?

Ah, I didn't know that! Oh yes!

I have to call Michele and the others,

we have to do something

I would like the audience to discover

Fabrice as, as a soloist also in concert, on stage.

There was a beautiful laser show done by someone

who has worked together with the Rockets for so many years,

I found Fabrice at that time to be very charismatic.

I was able to attend Jean-Michel Jarre's concerts

and also Vangelis' concerts, and Fabrice I found was already at this kind of level.

It was very very pleasant.

The concert went smoothly for about an hour and a half,

but he had only had twenty days to prepare

that live show. Noting positive feedback with the other people who were there,

the audience, I said to myself:

I hope he can do dates maybe in beautiful locations like Castles or the Colosseum,

I don't know, those places that give an extra atmosphere.

You have also done some very interesting solo projects.

I mean but did you come from a Rockets-like starting idea or did you have a, let's say, different birth?

No, then even there, they were already at least

To date, seven years I wanted to do something on my own. However, I

considered that it was not the time, as I was still active with the Rockets record journey.

From the moment I ended the Rockets record path,

I said, "Now it's my turn."

Fabrice has already produced two albums:

one is called Parallel Worlds And the last one is called Undo.

These are two albums that are

very much related to the Rockets tradition and in some passages even recall a bit

Ryuichi Sakamoto or Vangelis and still could easily be used

for soundtracks like The Gladiator or such films.

I have no stakes; I can do classical,

pop, instrumental-only, sung, and so on.

In fact, the first album, Parallel Worlds,

is an album of fourteen tracks, which can be taken for movie soundtracks.

In fact, I studied it specifically by seeing it as a movie soundtrack.

Now Undo will come out on the 20 of October and

I decided to do only forty percent instrumental and sixty percent singing.

So to do that

I found a seventeen-year-old French boy, Paolo, with whom I did a track.

He sings the track, he made little arrangements for me, they are beautiful.

A Moroccan boy in his twentys, Shinobi,

on the other hand, sings in Arabic because I love Arabic as a language and find it beautiful in singing.

♪ Connect you now ♪

♪ I will connect you now, how? ♪

♪ Connect you now, I will connect you now ♪

Then I got a young singer from London,

Rose, twenty-three years old, who sings two songs;

she has a voice that I love

because it's completely out of current standards, she has a Carly Simon voice.

So it has its... reason.

And then I sing two songs, one in French and one in English.

So you see, with rockets I couldn't do that.

Instead by myself I can make the goats sing if I want to. If I want to make the goats sing, I make the goats sing!

I go to memorize, record the sounds, the sample is finished.

The beauty of doing it yourself, of being on your own, is to do what you want.

I'm already working on the third album, so ...I'm always in turmoil

Listen Fabrice, we thank you for being with us today,

it was a very pleasant chat,

I am deeply excited to have shared this time of mine

Don't cry, mind you. with a legend of international music and nothing, thank you!

Thank you.

It is difficult to talk about Fabrice because he is French

and as we know the French are particularly difficult.

He is convinced that French wine is the only wine in the world,

he is convinced that French cheeses are unsurpassed and unique

and still I must say he is a nice guy all in all.

Fabrice Quagliotti is unbearable,

unbearable because is affectionate, a dear person, kind,

and then he disappears for months and months and months and then immediately he calls you:

"Comment vas tu?"

By now he has been in Italy for many years,

with me he must have some kind of automatic trigger, as soon as he starts talking to me,

he forgets Italian and only speaks to me in French and also writes to me in French.

With Fabrice I have very pleasant memories, he is a person

exquisite, he is a very polite person,

music lover, he is a musician

who loves his work.

Fabrice Quagliotti is the Rockets. Anyway I had a very bad idea,

three years ago, four years ago, to suggest to Fabrice to make a record alone,

solo, like Jean-Michel Jarre, Vangelis or so,

and that was kind of torture,

because one of Fabrice's qualities, one of his flaws is...

...What the fuck are you talking about?

is to...

...is to make a track, start a track, half an hour later it sends you

the super version, the final version, the version that is not surmountable.

It is clear that in the instant immediately following

has already overcome everything. And this is a modus operandi of Fabrice.

Fabrice is a very..very humble, very kind, very generous person,

and a great musician and composer.

For me he is a friend, for me he is a great artist, a genius of sounds,

he never stops, his music is his passion.

I wish him a great career both as a solo artist and carrying on the

and carrying on the Rockets name that the people like so much even today.

No one was taking care of the rockets,

which Fabrice has always continued to do instead

this is admirable, that's why I always liked him.

We used to talk to each other by phone, and every time,

I hated that he would forget to call me

for many months, however, every time I was very, very happy to talk to him,

and even now it is like that.

A big hello from me and Angelo.

I would like to greet you as the great Christian Lebarz

used to do when he wanted to cheer his audience:

"Hey folks here can't hear anything! I want to know if you people

came here to sleep!...Because if you sleep would have been better if you had stayed at home!

Hey people wake up! Wake up!"

Stay rock with the Rockets!