These were difficult years since record stores often refused to stock their records “because they didn’t want Arabs coming into their shops”. There was little money; the band performed in suburbs of Lyon. Taha took a standard patriotic French song entitled “Sweet France” (in French: Douce France) which had originally been recorded by Charles Trenet in the 1940s, kept the lyrics, but sang it with “furious irony” which irritated many French listeners, particularly coming from a “scruffy, bohemian-looking Arabic singer”, to the point where Taha’s version was banned from French radio. The “acerbic” song created a “splash”, nevertheless, and won Taha some recognition as a serious artist. The group never achieved much commercial success and, as a result, Taha had to work a series of day jobs in a factory, then as a house painter, a dishwasher, and later as an encyclopedia salesman. They recorded their first maxi album Carte De Séjour in 1983. In 1984, with the help of British guitarist Steve Hillage, the group achieved a “sharp, driving sound” which played well on the radio, and the LP was entitled Rhoromanie. In his songwriting, Taha wrote about living in exile and the cultural strife associated with being an Algerian immigrant in France. In 1986, his “sneering punk-rock cover of ‘Douce France'” was seen as an “unmistakable protest against the nation’s treatment of its immigrant underclass”, and caused consternation in French political circles. His song “Voilà, Voilà” protested racism. Taha had to cope with anti-Arab sentiment and confusion; for example, The New York Times stated in a front-page story that Taha was Egyptian rather than Algerian, but later posted a correction. Later, in 2007, Taha-as-an-immigrant was mentioned in France’s National Center of the History of Immigration.