5.22.2010

Rock 'n' Roll Police Sting | Henry Padovani | Cannes Film

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Rock 'n' Roll Police | Henry Padovani + Sting Copeland Summers | Cannes • Henry Padovani doc
(featuring early
Police) Cannes
http://www.stewartcopeland.net

http://www.henrypadovani.com/images/index_01.gifhttp://www.henrypadovani.com/images/index_04.gif
WHEN YOU THOUGHT YOU WERE IN FOR A LIFETIME
Or a henry padovani biography.

HP's excited news brief in two languages:

' ROCK AND ROLL.. OF CORSE!' est SELECTION OFFICIELLE au FESTIVAL de CANNES!! ca y est, on peut le dire!

(http://bit.ly/aMpGFI)http://www.henrypadovani.com/uk/images/whenyoubelievedtextintro.jpg

1952 :Born 13/10/52 bastia ( Corsica)
1963: Being given a guitar at the age of 11 by his uncle .
Left the guitar in a corner until 14
1968 : Formed lapsus , a band with school mates
Playing English pop standards at local dance clubs

'ROCK AND ROLL.. OF CORSE' is OFFICIAL SELECTION at the CANNES FILM FESTIVAL!! thanks god, we can now tell it!http://www.henrypadovani.com/uk/images/secretpolicemantextchaptersuk04.jpg
Late june, the flying padovanis start a mini tour of London clubs and culminate beautifully in Hyde Park, supporting the Police, for the Hard Rock Calling. Of course Lionel Guedj is filming all this
In july, they fly off to Japan where they have been invited for 3 concerts at the famous FUJI ROCK FESTIVAL  Of corse Lionel Guedj is filming all this too!!

2009: the flying padovanis start the year recording a few tracks with Mark St John at the SmokeHouse studios in London. They record Mancini’s Peter Gunn, the Shadows’s Apache, Kraftwerk’s The Model and ‘I am Spartacus’, a fats furious riff from Henry for the movie ‘ rock and roll …of corse!’.
All winter, henry concentrates on the recording of the music for the movie and in the spring, he start the writing and the translation of ‘secret police man’ in English, with the caring help of Aysen Slack, Paul Slack’s wife. He adds 3 more chapters and the book is ready for October.

In november, Henry leaves for a serie of dates in Singapour, Australia and New Zeland. He visits 10 cities, screen a work in progress version of ‘ Rock and roll…of corse !’ and performs in 10 clubs and theaters, alone with his guitar, for a set consisting of 2 :3 of french songs, the rest in english  

The early days of the Police

After Christmas I decided to go for an audition. Just like that. I wasn’t even sure whether or not I was going to stay in London, I was just rolling along, going with the flow.

I often played with Steward and Ian, and we got on well. We’d go out together to see bands. Stewart often talked about the band that he wanted to start. We’d see Miles organizing gigs – I remember watching Squeeze, his latest signing, supporting Generation X at some college gig, the audience seated behind the lecterns.
And then, maybe just to prove something to myself, I decided to reply to a small ad.
I was flicking through Melody Maker and I noticed a classified: London, punk group is looking for a guitarist. Why not? I gave them a call, and they asked me to come and see them in North London. Paul dropped me off. I met two guys: a singer, Riff Regan, and a drummer, John Moss, who later formed Culture Club with Boy George. Very cool.  They handed me a guitar and I played some rock, a ‘twelve bars’ whilst Riff sang.
-  “Do you want to join our band?”
Straight to the point.
I said I’d think about it and call them, and I left, over the moon. It was my first audition and they’d accepted me. I had been a bit stressed. It is not easy to sell yourself so quickly.

I went back to Paul’s, and that evening I called Stewart. I told him all about the audition. He seemed a bit surprised that I had done it. He asked me:
- “But, are you planning to stay in London, then?”
- “Maybe… Anyway, I said I’d think about it”
-  “So you’re ready to stay?”
-  “Yeah…” I replied, a bit lost. “I don’t know… I don’t really feel like going back just yet. Why?”
-  “Look, if you’re going to stay in London, why don’t you join my band?”
-  “You never asked me.”
-  “I thought you understood. Anyway, the bass player I told you about is coming down from Newcastle”.
-  “Oh yeah? The Sting or whatever his name is?”
-  “Yeah, him!… What are you doing right now?”
-  “Not a lot, I’ve just got back at Paul’s”
-  “Why don’t you come round? We can have a chat about it”
I was thinking. He continued:
-  “And I’ve just written a new song”
-  “I’ll be right over!”
Stewart seemed to be a bit worried that I might join another group. I was surprised. I was pleased. I don’t know. It was simple and I liked that. Like always, I didn’t question myself too much, everything just fell into place, quietly and simply.

All my life I haven’t asked myself too many questions. I tend to trundle along on instinct, and either I’ve had a lot of luck or maybe that’s just the best way to make choices. So far, I think I have been right to work in that way. And when people ask, I reply that I don’t have many regrets, that I sleep well and dream a lot, and not always while sleeping either.
Like most people, I also have some pretty mad ideas sometimes, but ‘I’m not making any plans about the comet???’. ( wild dreams.. when the comet was first seen, people would have all kinds of ideas about it.. an English expression here?)

I’d been in London for about a month. I wanted to be a musician. I was one. I wanted to be a guitarist in a band. I’d been offered two options in one day and I had chosen. Everything was going well.

When the band that I was about to join eventually became very famous – and I wasn’t part of it anymore – many people in France did asked me if I wasn’t disgusted, jealous, bitter or even sour. Never once have I ever felt anything other than joy for my friends, for their well deserved success. Maybe if I had gone through the same thing in France, I might have felt that way, but in England, we all pulled together in the same direction, and if one group became successful, then we all had a chance to also become so one day. I have never made music thinking that I wanted to become number one, and neither have any of the groups I have played with in the UK. Obviously we wanted our music to be heard, we wanted to be successful, wanted to play in front of larger and larger crowds. And, even though there was so much competition, we knew that we could all have our chance, and we all did everything we could to have it.  In England, no one has ever asked me whether I was jealous of The Police’s success. My friends are proud to know that I, along with two mates, started a group that became one of the biggest pop group in the world.

The bassist he’d mentioned was about to visit him.
He was from from Newcastle. Stewart had discovered him playing in a jazz-rock band.
After a Curved Air gig, Phil Sutcliffe, a journalist had taken him to see the pride of Newcastle:  Last Exit. He didn’t much like the band, but the bassist impressed him. He had ‘it’. He could sing and play bass at the same time, which was perfect because Stewart wanted to start a three-piece. Jimi Hendrix was his model.  It’s true that being just three in a band has many advantages. It works out cheaper, it’s easier to get around, you can work just about anywhere and you don’t need so much gear. The idea was first to be able to survive and earn a living, and when you are three it would be that much easier. Whenever I see bands with six, seven or even more members, I worry for them. It will be hard, they won’t earn much  money, they’ll have trouble lasting it out and will quickly give up, unless success knocks at the door very quickly. For example, when I started The Flying Padovani’s after having played with The Police and The Electric Chairs, we were just three. And it’s true that we had our moments of glory, we held out, and we made a lot of noise… just the three of us.


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