Monday, 13 July 2009
Thursday, 26 March 2009
Interview: Alex Novaga
We present an interview with one of the most legendary names in Italian disco music that ever there was - Alex Novaga. In a genre full of one-hit wonders and labels that disappeared as quickly as they emerged, Alex forged an incredible track record with his varied and consistently brilliant productions, ran the classic label D.I.D. and also found time to contribute his musical skills to the near-mythically remembered Cellophane club in Rimini... a truly unique talent indeed whose personal modesty should not be allowed to stand in the way of the recognition he so clearly deserves!
Hi Alex! Can we begin by asking you about your early life and first musical influences?
I was born in Forlì, a city between Bologna and Rimini where nothing usually happens but it's good enough to live in. I remember the first record I bought, Waterloo by Abba... It was followed by an LP by Julie Driscoll, Brian Auger and the Trinity...
My father was a musician so I had a lot of keyboards at home to play with, but I was too lazy for practising. When I realised that elecronics were starting a revolution in music-composing I became very passionate about it. I wrote many songs together with a friend who was playing guitars, but we never produced a record.
It all started when I joined a group of friends working to set up a free radio...
What are your memories of Italy in the 1970s and what music affected you most in this period?
The 70s were my high-school days, my first loves were Pink Floyd, Santana, Genesis, Jethro Tull and all "progressive rock"; ELP above all, but I was also listening to classical music (Bach, Beethoven, Debussy) and the famous Italian singers/writers (Battisti, Baglioni, Bennato etc.)
From 1977 to 1981 I worked in a radio (Radio 2001 Romagna as I said before) and I became a DJ during these years, discovering and playing what we called "disco music". I remember that I liked the most "energetic", some of my favourite tracks were Beat the Clock by Sparks, Anikana'o' By Kongas, Disco Inferno, Crusader by Traxx and so on.
You first came to prominence in the early 1980s - what was your first record and how did you get involved in the music industry?
This is funny... there is NO FIRST record, but THREE. I was recording my very first record for a radio based in Venice (Superradio), they wanted a song about what we now call wrestling , this song was called Catch and the artist was this "Sun-La-Shan", so I composed, performed and recorded in a Studio called Sky Record in Forlì, my hometown.
This was very funny because I had been in a studio only a couple of times because my father was a musician, but I was called because I was just passing by... Anyway, we did this recording, all sequences played by hand by a completely not professional guy (me...)
In the same building there was an Import records firm called DID (this would be my future company) that had produced a song called All Night Long by B.B.Band, a song that had good sales in Italy, so they wanted to start making music and they called me... (Mario Boncaldo from B.B.Band made another track in the same period, the famous Dirty Talk by Klein & M.B.O).
At the same time I was working as a DJ together with Giorgio Paganini at Cellophane Disco in Rimini and together we made a cover version of our favourite I'm Your Boogieman by K.C & The Sunshine Band, but in a very "electronic" way (Digital Game). The boss of the disco (Cellophane) had the idea to make a 12" to promote the club itself so we holed up in the same recording studio (Sky Records) and recorded Gimme Love, the same way as Catch and I'm Your Boogieman, all by hand...
Franco Scopinich from Superradio was so happy with Catch that he asked me to make a cover version of Ali Shuffle by Alvin Cash, the same way as Catch. And I did it. (To be honest I was not really happy with the resulting product, but he liked it).
(Paganini, Oriolo and Novaga at Midem Cannes)
So all together - me, my future partner (sales manager) in DID and Giorgio Paganini - we participated at Midem 83 in Cannes, trying to sell the track from Cellophane, the one from Digital Game and to take a look at the international market. Going back to Italy, we were surprised to find out that Cellophane's Brain was signed with Emergency Records in New York, so me and Paganini were put under contract with them, and Digital Game was licensed to ZYX (a newborn label at that time).
Also, thanks to Elvio Pieri, a great DJ and a friend, we found a cassette tape from Sweden from a group called Fake and we decided to remix their record and sign them under us: we started a label. The conclusion: Fake was a best seller in Italy (distributed By CGD for the 7" and LP and by Il Discotto for the 12"), Cellophane was re-edited in New York by the staff of Jellybean Benitez (a major american DJ of that period) and made good sales also in Italy thanks to the soundtrack of a national TV Spot for Rimini Riviera, and Ali Shuffle became a major hit in 1984 in Spain reaching the national radio top ten ( - this was another story, but a lot of fun). After all this, music became my job.
Which producers/artists did you collaborate with most at this time?
Of all the people that worked with me at that time some changed their field of work (you know...it's been more than 25 years...) but some found their way in the music business and they still work in it. Remember; i was young, but they were younger... you can see about all the team working around DID records in the Camaro's Gang video of Ali Shuffle on youtube... There is me too, 40 kgs ago...
We made the tour as "Camaro's" because "Camaro's Gang" was only a name on a 12", so we made a band for "going on promotion" with some of our performers like Maskio, Lipseye, Symona, Barry Mason from Superradio (the singer) etc.
(Camaro's)
The thing is that I was frequently receiving and listening to a lot of demo tapes, so we produced and created a lot of artists and sub-labels after the recording. Example: on all my records the vocoder voice is always me, but in Digital Game Please Don't Go the singer was Romano Bais and the "face" was a dancer from Bologna...
Anyway two of the guys I worked with on a lot of productions are now serious musicians; I want to remember Mike Centonze, now one of the major music producers in Italy (Olympics, Pavarotti etc.) and Mark Sabiu, most well-known in Great Britain as Mark "Rapino" from Rapino Brothers...
The two Cellophane records, Gimme Love and Music Colours are among your most well-known - what's the story behind them and what was the connection with the Cellophane club in Rimini?
As I said, I worked in Cellophane club in Rimini during late 1981 and all of 1982 but what i did most of all was performing with electronic drums, a bass-line and a keyboard during and on top of the tracks Giorgio Paganini (resident DJ there) played.
About the story, you can read it above. Music Colours was composed by me and Mark Sabiu with lyrics from Mark Howells.
You produced under a variety of different aliases such as Stopp, Fake and Digital Game. Which were you favourites and why? Can you tell us the stories behind a couple of these records?
We made records and in our region, Romagna, we were in my opinion the most prolific. So it happened that we became friends with a lot of artists, DJs, etc.
One of these was Francesco Paolini, still my best friend, that wanted to produce a record: so I made with him I'm Hungry by Stopp and Don't Worry by Lipseye (fact: the B side of Lipseye was a song by Angelo Valsiglio, the man behind the early success of Laura Pausini).
(Polar Studio, 1985)
Fake was our best selling band, we lost them at the time of Brick, when "real money started to flow" and I think that this is one of the reasons that made me leave production. But the work I made with them is still my favourite; Eric Stromblad was a great musician and Tony Wilhemmson a great singer and melody writer. Definitely my very best production experience.
(Alex Novaga - wearing sunglasses - with Fake)
Digital Game was a game. It was one of my first productions and the first we sold to ZYX. The sound is very similar to Cellophane, same recording studio and same "hand perfomance".
The second one from Digital Game, Please Don't Go, was recorded at Rimini Studio together with Mark Sabiu who also wrote the B-side with me. It was funny because to mix these tracks we covered all the LED bars of the mixer (a 52-channel MCI) with toilet paper to "listen only to the sound"... I must have some picture of that day... I remember this because the owner of the studio, Mario Flores (the writer of Maybe One Day by The Creatures) was a maniac of cleanliness and order and when he was not in the studio we (young and bastards) start "parties" and "have fun" with all his very expensive hardware... Ah the sleeve-art of I'm Your Boogie Man (as a lot of others) was made by our graphic partner, Checco Montefiori, today playing lounge music in his band Montefiori Cocktail, very popular in Russia and eastern countries.
(Mario Flores in Rimini Record Studio, 1985)
You were also released on a huge amount of very prestigious labels such as DID, Discomagic, ZYX, Blanco Y Negro, CGD, Break, etc. The list is like a 'who's who' of classic Italo labels! What memories do you have of working with them?
DID records was my own label (I was the major owner) and we had a lot of sub-labels because we produced and remixed a lot of tracks. Our company was made up of three people: me, working in studio, plus a sales manager and a secretary (Canadian from Toronto). When the big work started my main interest was to "make the music" and I had no time to "make the papers" so I did not deal directly with Discomagic, Blanco Y Negro, ZYX etc. because I was all around Europe working in studios; all the publishing and distribution contract were in the hands of my sales manager.
Companero by Camaro's is another Italo classic that you produced - is it related in any way to Camaro's Gang? What's the story behind your involvement with the Suprradio label?
After Catch and the success of Ali Shuffle in Spain, Franco Scopinich wanted to make another record, this time a Long Play (today you would call it a CD) with a lot of new songs. So I called all the people we toured with in Spain and asked them to join the project. To make things quick after the choice of the songs I divided into three the production team in three different studios walking from one to another. Lots of problems... When I started to mix there were different levels, diferent sounds etc. A nightmare!
Anyway, we finished more or less, and released Companero as a new track for the 12" together with Move A Little Closer. So as you can see, Superradio was an "external" asking DID to make some songs and I wrote and produced for them.
Afterwards, they started producing things themselves, and I believe that they are still making music.
Ah, the name NOVADO as composer of Catch; it's a mis-spelling of NOVAGA... (thanks DISCOGS for not letting me correct this!)
What were your favourite synthesisers to use when producing in the 1980s? Was there any other studio gear that you enjoyed using particularly? I'm sure there's quite a few producers out there who would love to know!
Well.. tons of them... before and after MIDI...
I remember the first one, a Roland MC-4 micro-composer sequencer (with trigger and control voltage...) and my first love, the Korg MS-20, totally analogue! When we made some money with the music I started using everything that was affordable from out of our own pockets, all the drum machines (Lynn, Drumulator, Roland TR-808 and TR-707, etc.) My favourite keyboards were the OBX-1 from Oberheim, Prophet 5, MiniMoog, Korg MS-20, ARP 2600, PPG, all the Roland keyboards and so on. My favourite sound and mixing style was the "Trevor Horn" sound.
About the recording studios: I worked in a lot of them, during that period there were no computers (affordable) to use to make music and therefore so much work to do... I remember that in 1985 I had something like 290 days in recording studios, sometimes recording in one and mixing in another at the same time (a lot of car trips...).
This was usually the production timeline: making a demo, arranging it, making the sequences in a little personal studio (very little) - after that one or two days of recording, one day for vocals, one or two days for mixing.
(demo studio at DID, 1984)
(Novaga at Rimini Record Studio)
There were exceptions, of course; Brick, from Fake (the Swedish band) took about one and half months of recording and mixing in Stocholm at Abba's facility, Polar Studio, and another one was Space Opera by Negro, that took about two months at Rimini Record Studio in Rimini.
One other time we recorded at Rimini Record Studio and mixed and wrote new tracks at Weriton Studio in Munich with Moroder's sound engineer (that track was Love Me Like I Do by Robert Bravo, co-produced with Fratelli La Bionda). Leaving England by Skrazzo, Vision In The Mirror by Control-D and Don't Worry by Lipseye were recorded in Italy and sung on and mixed in London, at Matrix Studio.
Other studios I worked in were Real Sound (Riccione), Phonoprint (Bologna) and a lot of others.
Going back to our earlier question about the Cellophane club, what else do you remember particularly from that era in Italy? What was Rimini like in its glory days?
Yes, it was glorious. Clubs like Cellophane had 2000/2500 people every time they opened; lots of fun, music and girls...
Where did your career take you next after 1986? Did you continue producing?
During the whole of 1986 I belonged to the army service and when I returned to life as a civilian I changed (a bit) my work, making myself an artist manager. In 1995 I left music and joined a multimedia company (Ideadrome) and in 2000 I started my own company as a tech consultant. Until now.
Is there any advice you can offer to today's producers who would follow in your footsteps?
Do not follow in ANYONE'S footsteps. Try to make your OWN music. And be prepared to deal with artists...
Could you give us your personal approximate top 10 Italo Disco records?
I do not have a top 10... When we made the music that people now call Italo Disco our influences were various and many but what I tried to do was to "explore electronic music" sometimes without caring or not about selling the record...
During my career (from 82 to 86 excluded) I arranged or produced or wrote or played on more than 70 tracks... with or without my name on... I enjoyed making music, that's all....
Do you have any current musical projects? What are your activities these days?
You must ask Mr Cusato (Casco) about this... We've known each other since 1983 but two years ago after a lunch at Midem Cannes he has been trying to convince me to do some more music... maybe I will, just for fun... but only with him!
(Giorgio Paganini and Alex Novaga with Mario Colonna, voice of Boris Parker)
What gigs from the old days do you remember fondly? Are there any stories you don't mind sharing with us?
Hmm.. as a DJ I remember one gig in Cellophane (1982) that started with a big headache, so I took a lot of Aspirin and when I felt better, drank a glass full of whiskey... I was so OUT that I left my electronic drums playing for about twenty minutes only with a bass drum in 4/4, something like boom-boom-boom-boom. It was with NO music and NO kind of percussion.... I was staring at people dancing, and people danced like they had a hit song in their ears, but it was only a bass drum... When I realized what I was doing I played a record and people looked at me as if I was stupid or something... This incident made me think a lot...
Another funny experience was the Spain tour. We arrived there without any idea of what would happen, finding out that Ali Shuffle was topping the charts only when we got there. I remember a lot of things on that tour; like to have a live concert with 3000 people on a Sunday morning, on live state television and to have to perform for about 45 minutes with only ONE song... It was funny to be a rock star for a day with autographs, intervews and ALL THE COLLATERALS... this is still one of my best memories...
Do you have any final message for Magic Waves' listeners?
Wait for "ITALO MASTERS"™, maybe...
Tuesday, 24 February 2009
Interview: Casco
It's our great pleasure to bring you an interview with a man we here at Magic Waves hold in an especially high regard. Not just the creator of the legendary Cybernetic Love and one of Italy's greatest ever DJs but also we can happily say our Italo godfather! From the word go this man has leaped in to help Magic Waves out at every turn, from digging out old BASF tapes of 70s mix-sets in his basement to flying over to London and playing one of the most amazing sets we've ever heard from anyone for next to no money, Salvatore Cusato has the true blood of Italo running in his veins! This interview is long overdue!
Hello Salvatore! Can we begin by asking you what your first musical memories are?
- Hello James! My love for spinning songs started with a “His Master's Voice” gramophone and a Bakelite record running at 78rpm. It's easy to remember the song name because it was the only record my father had: Santa Lucia, a Neapolitan song by the tenor Caruso… and the gramophone was the only toy I had… for years. I was 4 years old.
I seem to remember you telling me a couple of years ago that before disco you were into glam rock... can you tell us a bit about that period in your life, and a little about the music scene in Italy in the early to mid 1970s? How would you say it influenced what came after?
- That’s true and it's natural; I started to be a DJ In 1971 and aside from the black music glam rock was making up a big part of the musical selection of every DJ . The musical taste in Italy was mixed between the USA 'funky' and UK 'rock' palettes. Sweet Blockbuster, T Rex Get It On, Bowie Rebel Rebel, Gary Glitter Rock n Roll Part Two, Joe Cocker High Time We Went... and on the other side Mr Dynamite James Brown Sex Machine, all Motown-sound records, the fine Stax Melting Pot (by Booker T & The MGs), Ohio Players, Fatback Band, Commodores, Wild Cherry, Bar Kays…
So what led you to Medel and those chance meetings with Giorgio Moroder?
- First time I met Giorgio was not in L’Medel but at L’Chamin, at his favourite patisserie in the afternoon. In the evening this place was changing skin and becoming a disco club. Giorgio was at home on holidays, being a “normal person” and not a “V.I.P.” He was often visiting the disco at night. He was already famous (having a number of hits in Germany and was having his first number 1 in the UK with Son Of My Father), and he gave me a 45 single to play of Son Of My Father: my synth sickness started like this.
As I stayed as a resident in Val Gardena many seasons, I met Giorgio other times. When Nights in White Satin was out on Casablanca Records... yes at this time I was playing in L’Medel. The most chic place of Dolomiti. And of course where it was strictly forbidden to play commercial songs or current hits... just brand new tracks and pre-releases…
After I left Val Gardena I never again met Giorgio. But I wrote to him to get the permission to cover his song Son Of My Father many years afters (in 1985) and he answered me very quickly and positively from his Giorgio Moroder Enterprises in L.A.
How important would you say is Moroder - both to you personally and to Italo Disco as a whole?
- Moroder is the father of the disco-sound made in Europe, but not only that. To me personally his work means a lot because it's thanks to him I survived; I used so much his music for my DJ job that I wonder that if he didn’t exist, somebody would have had to invent him… he is not just the inventor of Italo Disco if by Italo Disco we mean electronic music born from an Italian brain and made for the purpose of dancing, but he also existed for people who were not into electronic music. I was playing a lot of popular songs such as Looky Looky or Moody Trudy and also Spinach Action Man (1971) too. Spinach were Giorgio Moroder and Pete Bellotte. Giorgio was able to put together such genius as Bellotte and Faltermeyer. A phenomenal trio: Moroder-Bellotte-Faltermeyer.
What else? He produced artists such as Freddy Mercury, David Bowie, Blondie, Berlin and so on... was able to win 4 Oscars for the best soundtracks… I think it's ridiculous to think about him just as the musician using vocoders and synthesisers or the man behind Donna Summer. He also wrote Italian melodies, the Olympics anthem, football hymns… whatever he does he has the Midas touch! The best producer of the last century for sure: a real maestro of versatility and creativity. Therefore the fact that he also designed futuristic cars and his brother is one of the most famous wood sculptors in the world... this can give an idea of what's in the gene-pool of the Moroder family artistic talent.
What were the big records getting played in Italy just before Italian records started getting produced in the style we now call Italo (like Easy Going, Baciotti, Azoto, etc)?
- The audience loved pure disco made in the USA obviously! To mention also the incredible success of Buddah Records (Andrea True Connection's album was one of the most played). The funky '70s sound also played a big role in it together with the 'symphonies' disco style like True Sound of Philadelphia.
Download a set of Salvatore's from Medel in 1976 here: Medel 1976
Where were you working at the time Italo started to emerge and what was the disco scene in Italy like in those days?
- I was in Italy at Piranha Discotheque in Novara (close to Milan) as a DJ, and as wholesaler first in Gong (Zanza Records) then as director at the Milan office of Best Records... I was visiting daily Discomagic, Il Discotto and Many Records too… I noticed that 90% of all Italian 12 inches were going to export. Then when I was in Switzerland in Bern DJing at Babalu Discotheque I started to distribute Italo Disco 12 inches to shops myself and I was getting more money from Italo Disco records sales than as a DJ. By the way, the Italian disco scene was very influenced by the UK. The most played were Pet Shop Boys, Duran Duran, Spandau Ballet , Culture Club... Paul Hardcastle’s 19 was the number 1 without any doubt. It means that the UK dance sound was on top during those days.
Can you take us through the years 1977 - 1983 for Salvatore Cusato? What happened between meeting Moroder and the making of your legendary hit 'Cybernetic Love' as Casco?
Who were your main musical associates in the early 1980s and are you still in contact with them?
- Amongst all of them I like to remember Elvio Pieri, with whom I produced many records and toured a lot of clubs as a duo, Claudio Casalini of Best Records who played also a main role as distributor, friend and DJ colleague offering me important DJ jobs, and last but not least the people who involved me in the label House of Music. I'm in contact with Pieri regularly, occasionally with Casalini and currently very often with Paolo Del Prete, the only one still active from House of Music.
Download a set of Salvatore's from Dillan's Club in Switzerland, 1981, here: Dillans 1981
[text removed here for legal reasons]
You were the Italian DJ Champion in 1985, one of the peak years of Italo Disco - what was that like to experience?
Honestly the award of ‘DJ champion’ - I felt was more of a favour done for me by some generous colleagues during a DJ Festival in a club on the Como’s Lake where they decided as a jury to give me a nice gold plate (they wrote my name on it before the event), without informing me in advance - a prize which really I should have been sharing with all of them. I never felt myself to be the best or a champion DJ, but a champion of spaghetti eating yes, always!
Where did your career take you next after the Casco/House Of Music days? Was it difficult when dance music in mainland Europe moved away from Italo into the Acid House era?
Captain Of Her Heart by Ronnie Jones entered the UK Record Mirror charts (euro section) at number 7 and was released also on ZYX, CBS, and other prestigious labels. Originally it was released on my own very small label SCO. This was just one step before producing house versions of Whitney Houston So Emotional released on EMI Greece, followed by my unique acid track Hey Deejay where I used the pseudonym of Dr Acid. Today this track is getting rare and searched for on ebay very heavily. Casco and Italo Disco were dead for me… a souvenir d’italie as I was moving off in other directions, opening my musical views up to UK downbeat, Soul to Soul style…
How does it feel to have your music re-discovered after so many years? Were you surprised by the recent resurgence in interest in Italo Disco?
- Definitely yes. I don’t understand how it came to pass that one day I had to be Casco again… I brushed the dust off my rare old italo vinyl and started to play them again… that’s nice!
What are your favourite gigs that you've ever done and why?
- My favourite gig is always the next one coming up because it can be always the last. That’s why I give all my heart on the turntables till the last drop of my energy. PS The next gig will be in Naples on the 13th of March 2009! :)
We hear you have over 20,000 records stored in your house in Switzerland - what are the ones you keep coming back to?
- Depends if I have to be DJ Discoking or Casco… but for my private life I change the 7 inches in my jukebox every week… soul, disco, jazz... I love music in 360 degrees!
What are your current plans for releases both as Casco and on your Music Control digital label?
- The upcoming release on Music Control Italo is I Love Dirty Italo Disco - it contains tracks by some of the most interesting artists from the current european italo scene such as Ali Renault, Revolving Eyes, Dr Kmer, DJ Gio MC-505, Miss Plug Inn, Bottin as well as material from the more well known Fred Ventura and George Aaron... but the pearl for me is the Finnish cover (sung in Finnish) of Cybernetic Love called Kiberrakkautta by my Scandinavian clone Kasko - this track is now considered legal (cleared by publisher) so it's the first time it will be released digitally legally.
Besides that is Milanese super-DJ Pippi Langstrumpf The Church Of Pippi Langstrumpf on the new sub-label Dischi Bellini, including some experimental infected tracks of emerging electro artists caught by Pippi and Elisa 'Super Liz' Colonna.
Work is in progress also for the Blackway EP featuring Paolo Del Prete. It will contain original versions of Blackway tracks as well as the rare Music For Us re-edited by Casco. As for Casco himself... as we know, "Paganini non ripete" but I'm trying as well to start a new project with the guru of Italo Disco and creator of Cellophane's records, Alex Novaga (top secret!)
You've managed, produced and worked with some very famous names over the years - are there any stories you mind sharing with us?
- I could write a book on it! But is 7 o'clock am and I can only tell you now that I booked over 100 classic dance artists in more than 50 countries around the world, during a 20 year career as artist/manager… Actually don’t trust the appareances…
I'm not a credible tour-manager since I laugh all time on tour and I like to make jokes instead of being the policeman of artists!
I’m better as a DJ :) Hope so!
Can you pick 10 records for us that reflect a typical Casco selection from the old days?
- Casual order:
Mr Flagio Take A Chance
BWH Stop
Casco Cybernetic Love
BWH Livin Up
Alexander Robotnick Problemes D’amour
Mito Droid
Charlie Spacer Woman
Flexx (Fred Ventura) Love Theme From Flexxy-ball
Cellophane's Brain Gimme Love
Doctor’s Cat Feel The Drive
Finally, any message from Casco for the listeners of Magic Waves?
- If DJ Casionova didn’t exist, Casco would not have come back… Keep on listening to Magic Waves and give honours to Casionova for being so passionate a lover of ITALO bringing to you also musical culture! Also this interview would not be happening if it weren't for my mentor Mr Maurizio Cannici (boss of CGD International for many years), such a wonderful person who helped me in funding and casting at the first pioneer Italian DJ agency Recordmen in Milan in 1973! In fact my professional DJ career started from this moment. Thank you Mauri!
Thursday, 21 August 2008
Interview: Flemming Dalum
Flemming Dalum is one of the world's most famous Italo-collectors, actually having a collection that can be decribed as "near complete"! His legendary mixes such as 'Amazing Run In The Tube Vol 1-3', 'Lost Within The Fog And Strobe' and 'Dance Of The Obscure Robot' have long been favourites on the playlists of both CBS and Magic Waves, championing obscure gems alongside more established underground classics. We had the pleasure of interviewing him about all things Italo Disco...
How and when did you first discover Italo Disco?
- In 1982/83 a friend of mine played some Italo records he bought on a
holiday in Italy. One of them was KOTO – "Chinese Revenge". I was instantly hooked to this pure synthesizer masterpiece. So far I listened to more commercial stuff – but with the synthesizer a whole new universe of sounds emerged right in front of me: I was really hooked – and have been ever since.
In 1983 the same guy asked me if I would like to go with him to Milan
to buy Italo records. The first of many trips to Italy...
That's basically how I discovered Italo Disco and my passion about Italo Disco started.
What are the most special memories you have from the early days?
- Ohh so many great memories....
Of course my visits to Disco Magic and Il Discotto were outstanding. Being able to buy all the records directly from the source was absolutely fantastic. The guys at those famous distributors were really surprised over me travelling all the way from Denmark to Milan... just to buy records. It gave me a unique possibility to find ALL the Italo classics.
At that point we hadn't the internet – I mean, now everybody can order records from all over the world and have them within a few days. Definitely not an option back then! So it gave me a huge advantage, having certain records a long time before everybody else.
For example: I bought Valerie Dore - 'The Night' from the Merak record shop in Milan – it arrived/"hit" the Danish radio stations approx. 6 or 8 months later... Same thing happened with several other releases.
Also great memory to experience the Creatures live show at A'ltro Mondo Studio in Rimini. Robots on the dancefloor in 1983!! And the state-of-the-art laser show. I also remember being inside the spacefly as something very special.
Another nice night in Rimini we visited the Cellophane Club – and met
Giorgio Paganini. He was so surprised and at the same time really
happy to hear about our love for his 'Gimme Love' track. We had a long
conversation with him.
... I could go on.
(Flemming Dalum outside Cellophane club)
(one of The Creatures kidnaps a girl at L'Altromondo Studios)
I read that you made in total 11 trips to Italy to meet with the main distributors, is this how your collection became so legendary? And what was it like to observe the Italo phenomenon in its glory days first-hand?
- Yes that's right – in total 11 trips in the years 1983 to 1986. It was fantastic – just imagine stepping inside "THE ORIGINAL SOURCE" of Italo Disco and being able to buy everything! (even with fair/cheap prices: approx 2.5 to 4 euros per record).
And at the same time the guys who worked there were very cool and friendly... I also contacted them by phone in-between the trips... to be 100% updated.
(Discomagic's distribution department in 1985)
Did you visit many clubs while you were over there and what do you remember the most about them?
- Number one is without doubt L'Altro Mondo Studio in Rimini..... with the Creatures show and everything. I wish I could bring you back to experience that vibe and atmosphere. Also a lot of others clubs were cool – Cellophane Club in Rimini was also super nice.
And in Milan there was this super dope underground club called "Plastic" - very freaky. Smoke machine and strobe running all night – very raw atmosphere. They didn't play Italo. Other clubs in Milan were "Odissea Due" (huge discotheque) and "Mistral" (which had lots of great
neon light/effects).
I also visited a small club in north-west Italy called: "Pata Pata" and became friends with the resident DJ – so he invited me to DJ: meaning I actually played a 45 min. Italo DJ-set in 1984...in Italy ;-)
(Flemming Dalum outside Pata Pata club)
Who were the greatest Italian DJs in the old days in your opinion?
- Well several – hard to pick one. But I have to mention Jonathan (Jan Edouard Philippe) at Studio Jonathan 67 in Switzerland. I'm very inspired by his way of mixing on several compilations for Il Discotto...
Can you tell us a bit about the scene for Italo in Denmark where you are from? Scandinavia in general seems to have always had a special relationship with Italo...
- I don't think Denmark had a special scene for Italo... Sweden was
much more into it... with Beat Box records etc.
When Italo Disco faded into obscurity in the late 80s as Chicago House and various other forms of American and British dance music came to dominate the market, how did you react at the time and what did you do for those years through to the late 90s? Did your passion for Italo stay strong or did you need a rest from it by that stage?
- For me the real Italo sound/period stopped in the summer of 1986. This was my last trip to Italy after records, quality wasn't high any more and the sound also changed... so I moved on into House and later New Beat etc. My passion for Italo was always there.
When the CBS launched you were a vital contributor to them, both through providing classic mixes full of Italo gems and through extending the general wealth of knowledge about a lot of these very rare and often overlooked records. How did this relationship come about and what are your feelings now the CBS is gone?
- CBS was the perfect place for me. Ferenc also has a true passion for Italo and Disco, so that really made me want to contribute and share my passion. It started by coincidence - I was typing: "italo" on the net... and out came: CBS. I sent Ferenc a mail and received a friendly "greeters" back. A shame CBS ended - because my little mission wasn't over. Still lots of nice more or less unknown records to share in mixes etc..
But I believe something new will start soon: "Intergalactic FM".
You're the man behind Belgian label Flexx's recent re-release of Ghecko 'Firelight' - are there any other nuggets we can look forward to you bringing back in the near future?
- Actually it was the label owner Tom who asked me. So I guess he is the man behind the release – let's say I helped with it. I only do this for fun and again to share my passion. I still have a
demanding full-time job – besides this I manage to find extra time to make mixes and edits.
And recently I teamed up with Steen Gerulff from "Body Electric"...really exciting.
Lots of new projects in the pipeline.
Which Italo records are your personal favourites after the many years you've been into it?
- Hard to pick one or two – the list would be long...
You're renowned for your themed mixes such as 'The Last Days Of Italo Disco', 'French-Spanish Italo', etc Which is your personal favourite of these?
- I like them all.... all my mixes include records which mean a lot or something to me.
What does it feel like to be able to say that you've been into this music now for over a quarter of a century?
- Great – I really used music to relax and to recharge my batteries over the years, plus I still find energy when I'm mixing. 25 years with Italo and the 80s style gave me a unique and almost complete overview – which has proven to be very useful for me.
It was great for me to find CBS, and actually make a few new disco discoveries! That's the interesting part about collecting Italo and Disco.... There always seems to be more out there, just waiting to be found.
Which of the current batch of artists/producers do you like the most?
- A lot – actually most that were played on CBS...
In what ways has Italo benefitted your life?
- Some amazing memories from the 80s – but also now a lot of very cool friendships with other Italo freaks from all over the world...
What other genres of music do you enjoy you listening to?
- I've always been interested in the underground and was growing up during a time where lots of styles emerged – such as: Hip Hop, New Beat, Electro, Electronic Dub, House, Breakbeat, Techno and early Hardcore.... It's been great to be amazed over new styles
during the years. Now it dosen't seem so innovative any more....
So I've been back to my "roots": Italo, for some years.
If you could drive any car down the highway in the world listening
to any records, what would they be?
- Often Italo like: Peter Richard – 'Walking on Neon'... Brian Auger - 'Night Train to Nowhere' or more unknown tracks....
What other obsessions/passions do you have in life?
- Hmm besides music: I used to play a lot of badminton earlier in my life...
And of course: my family.
(sorry, have to ask!!) What is the rarest italo record of them all in your opinion?
- Tricky question – so many rare records. Hmm if I mention one... then
"the records hunters" will start searching for it and soon it's not THE
most rare record anymore...
Well OK anyway here's a shot: DIVIETO DE SOSTA - 'Forever' (Poker records).
What do you think of the current resurgence of interest in Italo?
- It's already been around for some years now... I love it.
Finally, where do you think the future of Italo Disco lies?
- There will always be an interest for Italo Disco, maybe not always big....
But I believe Italo will here be forever.
(inside Il Discotto)
(SIAE, the Italian music publisher)
(Merak shop, legendary supplier of fine Italo vinyl)
(the tube at L'Altromondo Studios)
(photos courtesy of Flemming Dalum)
To download Flemming Dalum's 'Italo Fetish' Mix containing the ultra-rare Divieto Di Sosta track 'Forever', click this link:
Flemming Dalum 'Italo Fetish' Mix
Flemming Dalum mixes to download
Flemming Dalum on myspace
Friday, 15 August 2008
Interview: Novamen - Mr Pauli & DJ Overdose
Mr Pauli and DJ Overdose, otherwise known as Holland's leading electro-exporters Novamen, have been releasing records together since 1998. While Novamen releases tend to appear once every couple of years, both are prolific with other projects that include The Hasbeens (Overdose and Alden Tyrell), Matzo & Pauli (Mr Pauli and DJ Technician), Los Hombres Nova, Pauli Y Overdose and Get It Boyz amongst others, on a variety of labels that include Clone, Viewlexx and Bunker. Magic Waves has been proud to have exclusive mixes from both Mr Pauli and DJ Overdose in our playlists, and Cyber Dance Records has just released Mr Pauli's jaw-dropping remix of Ali Renault's 'Zombie Raffle'. With The Hasbeens 'Keep Fooling Yourself' and Mr Pauli's 'JapFab' being probably our favourite tunes of the summer so far, it seemed like the perfect time to have an interview with them.
Mr Pauli:
You're known as a lover of both italo and electro, and both influences can clearly be heard in your various different projects. Can you tell us a bit about how you got into them and what tracks and producers influenced you the most?
- That is the music I grew up on. I think one will always like the soundtrack of growing up. But there's much more music I was listening to that influenced me. Pop music from the 80's has been a very big influence. I was addicted to watching video-clips on MusicBox and SkyChannel and those kind of pre-MTV music channels. So I think for instance Duran Duran has been just as big an influence as let's say KOTO.
What are your memories of the italo pirate radio days in Holland?
- Those are memories of being a kid riding my BMX bike on hot summer days. I wasn't doing music myself yet so the music is just a soundtrack to my youth. Was listening to the radio a lot when I actually had to be sleeping. Already then I was a creature of the night. I could never sleep when I had to be asleep. So I listened illegally to the illegal radio...
How did you originally become involved with Viewlexx and the CBS?
- The first Novamen EP was released on Murdercapital records in 1998 or 1999. And Murdercapital is being run by the same person that's behind CBS and Viewlexx.
Your electro project Novamen (with DJ Overdose) is one of your most long-running, can you tell us a bit about how it started and how things have changed for Novamen since those early days?
- Well Overdose and me have been homies for over 25 years so it was only a matter of time before we started working together. When Overdose was living in an old high-school building and I was in dire need of a place to live, I moved in for a few months. So when we had all our gear together in one room, we just HAD to do some music together. Then and there we became Novamen. Since, we've had periods of doing stuff and periods of not doing stuff, and it will probably stay that way.
The Matzo & Pauli EP on Viewlexx is a great record. Can you tell us something about Matzo & Pauli and if we can expect any more releases in future?
- Matzo is of course DJ Technician and has also been a homie for ages so for that reason it was inevitable we were going to do something sometime. Both being italo-lovers but only producing electro stuff, it was time to do something in the italo department. We had loads and loads of fun making those tracks, which is of course very important, and still like them today because of that. Actually today I find the music more industrial than italo. Four other Matzo & Pauli tracks exist and who knows if they will get released some day?
Where do you draw inspiration for your music from?
- From other music I guess. I'm not the kind of guy that gets inspiration from flowers or a nice landscape or things like that. Oh, and spending time in other peoples' studios gets me motivated to go home and be productive.
I hear you work mainly with samplers, can you tell us about the way you use them in the studio and what other bits of gear you particularly like?
- I use my MPC2000XL for sequencing the whole studio and as main sampler. Mostly sample drum sounds but of course also all kinds of other stuff. Used to sample most synth parts too when I only had one synthesiser, but now I have a few synths so I can have one playing a bass-line, one playing strings and one playng a lead etc etc. No need for sampling synths anymore. The Roland Juno 106 was my first love and still use it in every production. Great machine. The NordLead1 was my second love, but after 10 or so years it's not really exciting anymore. Still very useful. Use it live all the time. The (lack of analogue) sound can get kind of boring though. Lately I've been enjoying my new Prophet 8 synthesiser a lot. My first real synth for real men ;-)
What other contemporary producers and musicians do you listen to?
- I listen to lots of stuff but I can only name 25% of it....oh yeah lately I like Beta Evers a lot!
What are the best, worst and most ridiculous gigs that you've ever played?
The worst gig was a gig I couldn't do because my MPC crashed at the very moment I was pushing the start button. The place was packed with italo-lovers and I was planning on doing a killer set that night. Not a nice experience at all.
The coolest gig I can think of now was the first Novamen gig we did in Detroit. We arrived late at night. First time there so that was cool to begin with. We drove to one of those completely deserted areas which Detroit mainly exists of, got to a place so underground it wasn't even a venue, and outside we found the nastiest poster EVER with our name on it! Great experience!
I never played a ridiculous gig ;-)
What new releases do you have lined up?
- A four track EP on Clone containing 'JapFab' and 'Questions' (ft. Nancy Fortune & Fred Ventura) and a Bumper 12" on MDEX records. Three tracks, one is called 'Never Stop', and a remix.
What record of yours are you happiest with and why?
- Well the Mr Pauli Viewlexx V-16 release is pretty satisfying. That release got Mr Pauli on a roll.
Where do you think the future for both italo and electro lies?
- Never thought about that really. For me both genres will never fall out of grace.
Electro is something electronic music producers tend to fall back to when their original style is milked dry, so I think that will always be around. Certainly as long as music is being made with machines.
Apart from music, what other passions/obsessions do you have in life?
- Interested in lots of other things, but music is the only obsession.
If you could be driving any car down the highway listening to any track you liked, what would they be?
- Depeche Mode has some great driving tracks. Which are also very suitable when not driving by the way... If cash wasn't an issue I would probably be driving a Rolls Royce Phantom, hehe...
Five records that have rocked Mr Pauli's world?
- These records still rock my world , but especially triggered something in my brain when they were released.
1. Prince - 'Purple Rain' album (and after that all his other stuff until he stopped using his LinnDrum basically)
2. Michael Jackson - 'Thriller' album. (I mean, my God what a solid album that is!)
3. Jonzun Crew - 'Pack Jam' (the first dark-ish electro track i can remember. Listening to those chords I was always like WTF is happening here!?)
4. Trans X - 'Living on Video' (that was really the future when I first heard it. Still can give me goosebumps)
5. Divine - 'Shoot Your Shot' (and later of course about everything disco Bobby O ever did)
DJ Overdose:
I remember reading you and Ingmar (Mr Pauli) had a band together in the late 80s, can you tell us about that? What was your background before, and do you think it had any similarities to what you did with Novamen?
- The band was called Kuntebe which meant nothing but sounded fun. We made kind of Red Hot Chilli Peppers stuff, it was more about practising than anything else, all we ever did was play one gig at a school. Ingmar played bass and I scratched in the band, it had nothing to do with electro.
I fell in love with hip hop when a friend of mine got a cassette with 2 electro/hip hop compilation albums - the Dutch Ben Liebrand-compiled 'Scratch Tracks' and the British 'Essential Electro 1'.
I heard 'Electric Kingdom' and 'Boogie Down Bronx' at least 10 times a day for 6 months or so, and I still love those tracks. I think I was about twelve then.
You're known for your skills on the turntable, but also for your passion for producing italo and electro - can you tell us a bit about your different musical influences and how they manifest themselves in your music?
- I'm not so passionate about italo or even electro for that matter, I don't own one italo record and the only newer electro records I have are Dopplereffekt's first two which are already from a while ago and I bought one DJ Funk record a year ago - 'Shake It Baby'.
For me it's hip hop I love, not the new 'bling bling' but the old self-made man pouring your heart out stuff and then it can be about whatever they rap about. That whole 'get the best producer on every album' and going from making zilch to a hell of a lot of money killed hip hop is what I think. There are counter movements I know but they all seem to sound like what Tribe Called Quest was doing way better ten years ago to me. The electro I play is to me at least hip hop meaning I like the stuff that has rapping on it, I'm not so much into electro that is more on the techno side, of course some stuff I dig a lot like Model 500 and from good old Holland, Electronome.
I only really got to know italo from playing and hanging with I-f... what I remember as being like "wow this shit is good" is a car ride we took when going to play in Geneva. We played Billie Holiday, Frank Sinatra and an italo mix he did, at some point Felli's 'Diamonds In The Night' came on... we got on top of the mountain as the sun came up and we saw the lake of Geneva, it was magical, I love that track. Other tracks I really like are The Creatures 'Believe In Yourself', Immortals 'Ultimate Warlord', Azoto 'Exalt Exalt' and a lot of others too but I wouldn't know the name of the track or the performing artist.
Why do you think that the Netherlands has such a special affection for italo?
- I think it's more The Hague than the Netherlands or at least it used to be, maybe because in a way it's summer love beach-party music and The Hague is a city by the sea.
And we all know pirate radio stations used to be all over The Hague and all kinds of antennas were scattered around the rooftops, I think maybe we got brainwashed like MTV does to the kids nowadays.
I hear you use the legendary SP1200 (or it was your first drum machine?) - any other favourite pieces of studio gear and why?
- My first drum-computer was a Kawai, I think the model was R5; it was not a very cool drum-machine but I learned a bit of programming on it. Some years later a friend saw an ad for an SP12 turbo actually which is the 1200's older brother, it has 5 sec sampling time instead of 10 for the 1200 and it has it's own drum sounds which in the 1200 they left out but you can load them from disk which leaves 5 seconds again and the 1200 can reverse samples. Best improvement was a 3'5 inch built-in floppy drive against a Commodore external drive. After the SP12, Technics SL1200's are still my favourite piece of equipment, I love putting on records.
For the rest anything that gets the job done is cool to me, I care more for a song to be good than the sounds in the song to be good; actually I love a song even more if it's really good with crappy sounds - not too crappy though there is a fine line. But of course certain sounds can also drive me wild.
Your latest project (with Alden Tyrell), The Hasbeens, is a huge sensation in the underground already... how did the collaboration come about? Why do you think the dynamic between you two works so well?
- We've been hanging and making tracks since forever but never finished anything most of the time; it was intro's or we would do DJ tracks with a lot of DJ Overdose and Alden Tyrell triggering (like the 'Obsession' scratch remix he did with DJ Technician), put it on cassette and I'd go scratch on it at home. Hasbeens was something where we were having a joke about both being a bit down and talking a lot of crap about nothing being good, cool or worth it or whatever.
He said he mostly tried to make uplifting songs and I was always going for the lowest bass, let's try something different together. The concept was going to be negativity all the way, we have an album title which is "Out The Window" which explains I think everything. But first there's the new single on Frustrated Funk - 'I Fall To Pieces'.
What's next for DJ Overdose from here? Do you have any records or projects in the pipeline?
- A new 5-track DJ Overdose record is coming out right after summer on Strange Life Records. I have a lot of unfinished 80's tracks and The Hasbeens need to go to work and will but are not at it yet, Get It Boyz only play records for each other or hang and have a laugh when we meet, Novamen is on pause due to me moving to Rotterdam and giving it a break but I think there will be new stuff someday.
What's your favourite record that you've made (and why)?
- I like all of them but I don't think all of them are good, and I can like them for different reasons. 'Lies' is a good song, 'The Beat' has everything that I think is cool; lots of bass, tuned cowbells, scratching and pitch-shifted vocoder rapping, 'Make The World Go Away' has the right amount of melancholy.
As a DJ can you tell us about any particularly strange or interesting gigs that you've done? And of course any personal favourites?
- I'm not a crowd-pleasing DJ. I want to stuff what I think is good down your throat, so sometimes it works real well like for instance when I play Miami Bass at some places people got kicked in the head and went nuts shaking the building together with the bass... other times people would think what the hell kind of crap is this guy playing.
DEMF was great - we (Novamen) were really fucked up after driving the whole night to get there in time and the crowd really dug our stuff. Breakdancers were flying through the air, there were people with Viewlexx banners - it was a lot of fun.
Playing live in Amsterdam with I-f and Alden Tyrell I think as Parallax Corporation was cool too, I-f and me were drunk as hell - we were singing 'Lift Off' while another song was playing and then we got into 'Superman' with a lot of cussing and me scratching 'motherfucker'... it had such a good punk feel to me, this is us - take it or leave it, we are enjoying ourselves.
A strange story would be when I got arrested in the club, we had borrowed my father's car to go to the club, Technician dropped me off to go park and got checked by the cops because of a broken headlight, when they checked the trunk there was some boxes of gun-shells in there (my father used to hunt). He was taken to the station and they went and got me from the club handcuffed and all. My father picked up the car the next day.
What are your views on the current state of the Dutch scene? Who would you recommend that we might not have heard yet?
- I really don't know... people talk of scenes, what I see is some people who make records.
What were your early influences and what are you influenced by now?
- My early influences were a lot since my mother is a music freak - she would play classical, blues, reggae, rock and when I got into hip hop she would borrow my Mantronix and Sweet Tee records. First records I bought were Depeche Mode, Duran Duran, Pink Floyd and Prince, when I heard hip hop that was all I bought.
Outside of Dutch circles who are your favourite producers these days?
- Lately I've been even more out of it, since I don't like the hip hop, last stuff that was really good to me was Havoc (Mobb Deep), RZA (Wu-Tang)... Only albums I still buy is Ghostface Killah, the rest of the records I buy is old.
How would you describe the sound of DJ Overdose for those who don't yet know?
- Well it can be anything. I might do a country record next (again) but I think what people would call it is electro.
Please tell us 10 records that have rocked Overdose's world.
1. Schoolly D - 'PSK (What Does It Mean?)'
2. The 2-Live Crew - '...Is What We Are '
3. Too Short - 'Born To Mack'
4. King T - 'Act A Fool'
5. Cybotron - 'Clear'
6. Method Man - 'Tical'
7. Demon Boyz - 'Recognition'
8. BDP - 'By All Means Neccessary'
9. Just Ice - 'Back-To The Old School'
10. Sweet Inspirations - 'Sweet Inspirations'
Links:
Novamen on myspace
Mr Pauli on myspace
DJ Overdose on myspace
Hasbeens on myspace
Matzo & Pauli on myspace
Get It Boyz on myspace
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