Archive for July, 2008

BANG THE PARTY ( the latest mix…for download)

Posted in 1 BANG THE PARTY events on July 7, 2008 by bangtheparty


So here it is. To commemorate our second year in existence we decided to make a short but very sweet, positive, upbeat mix. Click below to download the full version.

All track selected, mixed, and edited by the GANG OF TWO:

ANDYCAPP & ROD SKIMMINS

Tracklisting

1. INVISIBLE MAN’S BAND – all night thing

2. HERCULES & LOVE AFFAIR – raise me up

3. UNLIMITED TOUCH – searching to find the one

4. KERRIER DISTRICT – robotuss

5. LEGACY – word up

6. ROLLMOTTLE – take a break (Maurice Fulton Remix)

7. STEVE ARRINGTON’S HALL OF FAME – way out

8. OWUSU & HANNIBAL – upstairs, downstairs

9. CHAZ JANKEL – my occupation

10. MORTEN SORENSEN – start something

11. TALKING HEADS – this must be the place

12. STAPLE SINGERS – slippery people

13. LOOSE CHANGE – straight from the heart

14. K.I.D. – you don’t like my music

15. GINO SOCCIO – it’s alright

16. RON HALL & THE MUTHAFUNKAZ – the way you love me ( DIM’s T.S.O.P version)

click here to download

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ELECTRO FUNK ( another essay written by GREG WILSON)

Posted in GREG WILSON on July 7, 2008 by bangtheparty

Electro-Funk is undoubtedly the most misunderstood of all UK Dance genres, yet probably the most vital with regards to its overall influence. Central to the confusion is the term itself, which during 82/83 (before it was shortened to Electro) was specific to the UK. From a US perspective this music would come under a variety of headings (including Hip-Hop, Dance, Disco, Electric Boogie and Freestyle), arriving on import here in the UK mainly on New York labels like West End, Prelude, Sugarhill, Emergency, Profile, Tommy Boy, Streetwise, plus numerous others. Just as Northern Soul was a British term for a style (or group of styles) of American black music, so was Electro-Funk, and, like Northern, the roots of the scene are planted firmly in the North-West of England.

Although this has been documented in a number of books and publications down the years, often with a fair degree of insight, the subject is rarely approached with any true depth and attention to detail, the information all in fragments. Perhaps the main reason that Electro-Funk remains a mystery to so many people is because its audience was predominantly black at a time when cutting-edge black music (and black culture in general) was very much marginalized in the UK, and as a result essentially underground. To keep up to date with what was happening on the British black music scene in 82/83 you’d have had to have been a reader of a specialist publication like Blues & Soul or Black Echoes.

In the UK scheme of things Electro-Funk eventually took over from Jazz-Funk as the dominant force on the club scene, but not without major controversy and upheaval. The purists regarded electronic or electric (as they called it) with total contempt, rejecting its validity on the grounds that it was, in their opinion, not real music due to its technological nature (although Marvin Gaye’s “Sexual Healing” would put paid to that theory). However, as time went on and audience tastes began to change, even the most hostile DJs were forced to play at least some Electro-Funk. Despite all the resistance, the movement slowly but surely began to gain momentum, sweeping down from the North, through the Midlands and eventually into London and the South.

The reason the Electro scene took so long to fully establish itself in the capital was down to the stranglehold the all-powerful Soul Mafia DJs held on the Southern scene. The Soul Mafia, with big names like Chris Hill, Robbie Vincent, Froggy, Jeff Young and Pete Tong, continued to concentrate on Jazz-Funk and Soul grooves (later referred to as “80s Groove”). It wouldn’t be until ‘84 that their virtual monopoly of the clubs, radio, and the black music press began to erode as a new order of music replaced the old, laying the foundations not only for Hip-Hop, but also the subsequent UK Techno and House scenes.

As has often been said, Electro is the missing link of Dance music. All roads lead back to New York where the level of musical innovation and experimentation throughout the early 80s period was quite staggering. It wasn’t one narrow style that never strayed from within the confides of an even narrower BPM range, Electro-Funk was anything goes! The diversity of records released during this period was what made it so magical, you never knew what was coming next. The tempo of these tracks ranged from under 100bpm to over 130, covering an entire rhythmic spectrum along the way. There was no set template for this new Dance direction, it just went wherever it went and took you grooving along with it.

It was all about stretching the boundaries that had begun to stifle black music, and its influences lay not only with German Technopop wizards Kraftwerk, the acknowledged forefathers of pure Electro, plus British Futurist acts like the Human League and Gary Numan, but also with a number of pioneering black musicians. Major artists like Miles Davis, Sly Stone, Herbie Hancock, Stevie Wonder, legendary producer Norman Whitfield and, of course, George Clinton and his P Funk brigade, would all play their part in shaping this new sound via their innovative use of electronic instruments during the 70s (and as early as the late 60s in Miles Davis’ case). Once the next generation of black musicians finally got their hands on the available technology it was bound to lead to a musical revolution as they ripped up the rule book with their twisted Funk.

Before Afrika Bambaataa & The Soul Sonic Force’s seminal Electro classic, “Planet Rock” (Tommy Boy) exploded on the scene in May 82, there had already been a handful of releases in the previous months that would help define this new genre. D Train’s “You’re The One For Me” (Prelude), which was massive during late 81, would set the tone, paving the way for “Time” by Stone (West End), “Feels Good” by Electra (Emergency) and two significant Eric Matthew / Darryl Payne productions, Sinnamon’s “Thanks To You” (Becket) and, once again courtesy of Prelude, “On A Journey (I Sing The Funk Electric)” by Electrik Funk (the term Electro-Funk originally deriving from this track, “electric-funk” being amended to Electro-Funk following the arrival of Shock’s “Electrophonic Phunk” on the Californian Fantasy label in June).

However, the most significant of all the early releases was “Don’t Make Me Wait” by the Peech Boys (West End), for this was no longer hinting at a new direction, it was unmistakably the real deal. An extreme chunk of vinyl moulded by Paradise Garage DJ Larry Levan, “Don’t Make Me Wait” would quickly become a cult-classic, and eventually even manage to scrape into the top 50 of the British Pop chart, purely on the back of underground support (as would a number of subsequent Electro-Funk releases).

As the first British DJ to fully embrace this new wave of black music, I came in for a lot of personal criticism. Having already become an established name on the Jazz-Funk scene I was seen as a heretic for playing these soulless records, especially those that were regarded as the more blatant ones (for example, the dreaded “Planet Rock” and the rest of the Tommy Boys stuff, Warp 9 “Nunk” (Prism), Extra T’s “ET Boogie” (Sunnyview), Man Parrish “Hip Hop, Be Bop (Don’t Stop)” (Importe/12), and Italian Zanza 12″, “Dirty Talk” by Klien & MBO). I generally opted for the Dub or instrumental versions, mixing them in alongside the more orthodox Funk,

Soul and Jazz-Funk releases of the time at my weekly residencies, Legend in Manchester and Wigan Pier, where the scene first took root. These venues, both state-of-the-art US styled clubs, would become central to the movement throughout the 82-84 period, attracting people from all over the country. The music would also gain further exposure via my regular mixes for Manchester’s Piccadilly Radio (beginning in May 82), and in August 83 I’d introduce Electro to a new audience, when I became the first Dance resident at the Haçienda club.

Electro-Funk’s legacy is huge. It announced the computer age and seduced a generation with its drum machines, synthesizers and its sequencers, its rap, cut and scratch, its breaking and popping, its Dub mixes, its bonus beats and its innovative use of samples. Made to be mixed it inspired a new breed of British DJs to cut the chat and match the beats. Now legendary names like Grandmaster Flash, Tee Scott, Tony Humphries, Larry Levan, François Kevorkian, Shep Pettibone, John ‘Jellybean’ Benitez and Double Dee & Steinski became role-models for tuned-in DJs and would-be remixers, whilst pioneers of the new digital sampling technology, including New York producer Arthur Baker and his collaborator John Robie, British producer Trevor Horn (via “Buffalo Gals”) and, of course, the Herbie Hancock / Bill Laswell combination, with their Grammy winning “Rockit” (Columbia), not only revolutionized black music but instigated a whole new approach to popular music in general.

Electro-Funk was the channel that finally brought the Hip-Hop movement, and all its various creative components, firmly into the UK mainstream, helping to spread its message throughout Europe and beyond. To all intents and purposes Electro-Funk pre-dates Hip-Hop in a British context, the term not coming into common use here until much later. We were more or less clueless when it came to Hip-Hop until late 82, when Charisma Records in the UK unleashed Malcolm McLaren & The World’s Famous Supreme Team’s “Buffalo Gals” video, which came as something of a culture-shock to say least, bringing the full force of NYC street-style out of The Bronx and into our living rooms, and inspiring a carnival of breakdancing in cities and towns throughout Britain during the summer of 83. Eventually we’d learn of its origins with Kool DJ Herc, spinning his famous merry-go-round of breaks for the b boys. Before this, most people had presumed that the break in breakdancing referred to the damage you might do to your bones if you got the move wrong!

Although the media gradually latched onto this new dance craze, the scene that surrounded it wouldn’t receive any serious attention here in the UK until 1984. This followed the runaway success of the Street Sounds “Electro” compilations (Volume 1 released in October 83), which would take the music to a much wider audience, and result in The Face announcing “Electro – The Beat That Won’t Be Beaten” across its entire front page in May 84, a full two years on from the US release of “Planet Rock”. This substantial delay in recognition went a long way towards obscuring Electro-Funk’s essential role in kick-starting the 80s dance boom, with many UK club historians bypassing the pivotal early 80s period and mistakenly citing Detroit Techno as the trigger. Even the track that gave birth to Techno, the Juan Atkins / Rick Davies 12″ “Clear” by Cybotron (Fantasy), was regarded as an Electro classic here in 83, way before the Techno scene began to take shape, and would feature on the first Street Sounds “Crucial Electro” compilation the following year. Little mention is ever made of the fact that its remixer, Jose ‘Animal’ Diaz, was immersed in NY Electro, with previous mix credits including “We Are The Jonzun Crew” for Tommy Boy, and “Hip Hop Be Bop (Don’t Stop)”, which gained a new lease of life following his much sought-after limited edition mix for Disconet (the DJ Only format affiliated to Sugarscoop).

Electro’s star burnt very brightly, initially on the underground and eventually with the club masses. In 1984 the London scene took off in a big way, both in the clubs and on the radio, with the emergence of DJs like Herbie from Mastermind (who mixed the Street Sounds albums), Paul Anderson, Tim Westwood and Mike Allen confirming a radical shift in power on the capital’s black music scene. With the substantial weight of London behind it, the Electro movement quickly went overground enticing an ever-increasing number of switched-on white kids in its on-going search for the perfect beat. With a significant proportion of the British youth, regardless of colour, now grounded in Hip-Hop culture, the new UK Dance era was well and truly under way and it wouldn’t be long before musicians and DJs here began to create their own hybrid styles, most notably in Bristol where Electro was fused with the Reggae vibes of Dub and Lovers Rock, to bring about a unique flavour that would later be known as Trip-Hop. By the end of the decade cities like Manchester and London had become major players on the now global Dance scene, with the UK a veritable hotbed of creativity both in the clubs and the recording studios.

Electro-Funk was the prototype, and Hip-Hop, Techno, House, Jungle, Trip-Hop, Drum & Bass, UK Garage, plus countless other Dance derivatives, all owe their debts to its undoubted influence. Without it’s inspiration, it’s unlikely that British acts such as Coldcut, 808 State, A Guy Called Gerald, Soul To Soul, Massive Attack, The Prodigy, William Orbit, Goldie, the Chemical Brothers, Underworld and Fatboy Slim, to name but a few, would have emerged. When all’s said and done, Electro-Funk (or Electro or whatever people choose to call it) was the catalyst, the mutant strain that bridged the British Jazz-Funk underground to the Acid-House mainstream, Until this fact is fully recognized the UK Dance jigsaw will remain incomplete and confused, with countless clubbers, twenty years on, having no idea of the true roots of the music they’re dancing to.

SYCLOPS ( I’ve Got My Eye on You…the review)

Posted in Leftfield House, MAURICE FULTON, SYCLOPS on July 7, 2008 by bangtheparty

First, read this sentence: Syclops is a trio featuring Sven Kortehisto, Hanna Sarkari, and Jukka Kantonen, with Maurice Fulton behind the boards. Then, re-read it with scare quotes around everything except Fulton’s name, and maybe put scare quotes around those scare quotes, just to be safe. This new DFA “group” (see how that works?) doesn’t submit to interviews, perform live, manifest any Google results unrelated to Syclops, show up on film or in mirrors, have fingerprints or dental records, etc.

Fulton’s penchant for epistemological sleight-of-hand explains why a guy who’s done top-hole remixes and production for Annie, Hot Chip, and Kathy Diamond, and whom is half of Mu, can keep such a low profile. Put it this way: Syclops features the Tin Man on keyboards, the Cowardly Lion on bass, and the Scarecrow on drums, with Maurice Fulton as the Wizard of Sheffield. Pay particular attention to the man behind the curtain.

And anyway, who cares about biographical shenanigans when we finally get what’s ostensibly a proper solo album from Fulton? If he needs to be left alone to make music this good, we should let him be. I’ve Got My Eye on You (rim-shot optional) is DFA’s second direct-hit entrance this year, a contemplative counterpoint to Hercules and Love Affair‘s flamboyant debut.

The clinically exact robo-funk of early single “Where’s Jason’s K” was almost too polished for its own good, but luckily, the acidy B-side “Monkey Puss” (which isn’t featured here) turns out to be a better representation of the album proper: It’s visceral and lyrical, thumping as jaggedly as a distressed cardio patient’s EKG.

We might not get “Monkey Puss” on I’ve Got My Eye on You, but we do get “The Fly”, which features the same kind of strident, Morse code melody, artfully stuttering and ghosting out, interpolated by overdriven bass. It’s a bit like French producer Vitalic’s jaw-clenching vigor, but where the latter tends to plow down the center, Syclops utilizes every minute degree of stereo channel space.

Opening track “NR17” traces a labyrinth of pitched percussion and barely audible sub-tones through your headphones, as flying saucers circle ominously; one imagines that Fulton’s studio comes equipped with a protractor, compass, and tinfoil hat.

These extreme but seamless contrasts– of physical and synthetic sound sources, hectic and placid moods, tricky and candid patterns– typify the album. The loping “5 Out” splashes sprightly lounge piano over clipped vocal samples and sawtooth synth waves. On “The E Ticket”, shaggy jazz drums launch a bass workout flecked with crystalline arpeggios and periodic synth washes. “Mom, the Video Broke” is sort of a mirror image of “The E Ticket”– the latter starts off tight and gradually widens like a cone; the former turns its jazzy percussion into jackhammering mechanical drums as the elongated synth-bass riffs move through fiddly variations.

The title track’s reverb-brushed percussion verges on musique concrète, at stark odds with the celestial fluff drifting around it, and “Naoka’s F”, with chords radiating through a vast array of torqued pings, chirrs, and blips, feels like the view from an airport’s moving walkway– a respite from harried striding, as busy scenery rolls tranquilly by.

Overall, I’ve Got My Eye on You is the sound of preternatural studio expertise being pressed into the service of the listener’s delight. The delicate melodic structures and decorative rhythmic patterns seem to want to please us, rather than just impress us. This befits someone who goes to such lengths to isolate his name and ego from his music, and results in a lot of terrific moments, like when the hushed ambiance of “A Lovely Sunday” suddenly lights up with surprising but weirdly apt G-funk whistles. Fulton’s bio remains shrouded, but this album tells us that he’s a generous and kind of crazily brilliant producer, which is all we really need to know.

click below to listen

SYCLOPS – Fairlight Sunrise

BOOGIE ( an essay written by the one and only GREG WILSON)

Posted in Boogie, GREG WILSON on July 7, 2008 by bangtheparty

Back in mid-80’s London, the term Boogie was used to describe a style of dance music, mainly from the early 80’s, but also the late 70’s, that was popular on the black scene. Many of these tracks had originally featured at the time of their release at specialist club nights in venues like Crackers and the Electric Ballroom, but had subsequently been revived during the Rare Groove era.

We never used the term in the North, although many of the same tracks had been massive with the black music audience following their arrival as US imports. We regarded them mainly as Disco Funk, or in some cases Electro-Funk, which utilised elements of the (then) new technology (Disco Funk being recorded in a more orthodox way, with drum kit as opposed to beat box).

It was also an unfamiliar genre name in America, where these records had originated. London DJ and collector, Sean P, renowned for his encyclopaedic knowledge of Boogie, plus other forms of dance music, recalls some friends going into record shops in the US and receiving blank looks when they asked for Boogie; the staff even enquiring if they wanted recordings about ghosts! This misunderstanding was down to the fact that what we call the Bogeyman in the UK is the Boogeyman in the States.

The word itself has a somewhat dubious background. Here’s something I found online about its origin and evolution, written by American columnist, Cecil Adams:

“Boogie” seems to come, via a circuitous route, from the Latin Bulgarus, an inhabitant of Bulgaria. The Old French term boulgre was used to refer to a member of a sect of 11th-century Bulgarian heretics, and “bougre” first appears in the English writing in 1340 as a synonym for “heretic.” By the 16th century, “bougre” grew into “bugger,” a practitioner of vile and despicable acts including “buggery,” or sodomy. “Bogy” (or “bogie”) first appears in the 19th century as an appellation for the devil; later it came to be used for hobgoblins in general. Hence, the bogeyman, which may be the source of the use of “bogey” and “boogies” to mean “Negro”. Shortly after these usages became common (in the 1920s), there appeared boogie woogie music, and I guess you can figure out the rest.

So it seems that, with regards to black culture, boogie was originally a racist slur, which was intended to demonise black people, before it was adopted in connection with music and dancing by those it was meant to put down. In this way it became a name used for ‘Rent Parties’ within US black communities in cities like Chicago, Detroit and New York during the 20’s, where musicians played in someone’s home and a hat was passed around the audience so they could put in money, which would help pay the rent. It was at such parties that Boogie Woogie emerged, a style that would have a huge influence on the course of black music (interestingly, Disco pioneer, DJ David Mancuso, cites the Rent Parties of 60’s New York as a major inspiration for his Loft parties).

The sub-genre of music that Londoners dubbed Boogie was, in essence, the direct continuation of Disco in its purest form. Many people have forgotten that the genre evolved from the Soul and Funk of black musicians. Later, of course, Disco would become increasingly commercialised, culminating in the blockbuster movie Saturday Night Fever, which elevated the Bee Gees, a white Pop band, to Disco superstardom, whilst a white suited John Travolta would become an iconic figure – the great white hope of the dancefloor. Disco went global, but its original audience, before Studio 54 stole the spotlight, knew that its true stars of the screen were afro haired black kids, who’d been busting all the best moves on Soul Train since the early 70’s.

Throughout the 70’s, the word boogie could be found in the title or lyrics of countless Funk and Disco records, but as the decade rolled on, it was beginning to sound increasingly cheesy to our British ears, especially when a Spanish holiday hit called ‘Yes Sir I Can Boogie’ by Baccara, topped the UK chart in 1977. By the early 80’s a new low had been reached, with Children’s TV character, the robot Metal Mickey, further devaluing the word via his annoying catchphrase ‘boogie boogie’.

However, it began to claw back some of its former credibility thanks to huge underground tracks like Rafael Cameron’s ‘Boogie’s Gonna Get Ya’ and ‘Caveman Boogie’ by Lessette Wilson, plus the Gunchback Boogie Band’s ‘Funn’, and with the emerging Electro scene it’s recuperatation was completed (Extra T’s ‘E.T Boogie’, West Street Mob ‘Break Dancin’ – Electric Boogie’, Man Parrish ‘Boogie Down (Bronx)’ etc).

From a London perspective, the Boogie scene, if not yet born, was conceived in the late 70’s at the West End club, Crackers, where DJ George Power would refer to the dancers, regarded as some of the best in the capital, as ‘boogie boys’ and, as Crackers veteran, Terry Farley, informed me, would frequently use the word whilst talking over the microphone (as DJ’s did in those days). Power was a true pioneer of UK dance culture who has only received a fraction of the full credit he merits. Later down the line he’d be the co-founder of Kiss FM, originally a pirate station, which would play an absolutely pivotal role in bringing London’s dance underground to wider recognition.

But it wouldn’t be until after the Crackers days were long gone that Boogie gradually became a category in its own right. A young Sean P remembers going into a shop in Brixton, called Red Records, in the early 80’s and finding a ‘Soul/Disco/Boogie’ section. It struck him as odd that an old-fashioned word was being applied to such a cutting-edge music.

The sub-genre really came into its own around 1985, when Kiss FM (named in tribute to the seminal New York dance station) took to the air and DJ’s like Gordon Mac, Norman Jay, DJ Tee (Tee Harris), Desi D, Tosca and, of course, Paul ‘Trouble’ Anderson began playing club tracks from earlier in the decade (along with other pirate radio DJ’s like Trevor St Francis on LWR and Lyndon T on JFM), describing them as ‘Boogie’. The word Disco had been out of vogue since the 70’s, with the music played on the black scene, pre-Kiss, usually coming under the blanket terms of Soul or Electro, but then a new movement of mainly black kids from South and East London began to refer to this post-Disco groove as ‘Boogie’. The sound was typified by Leroy Burgess, and the big labels included Prelude, West End and Sam, with club support coming from DJ’s such as Trevor Shakes, Dez Parkes, Cleveland Anderson, Henderson Yearwood, Fitzroy Da Buzz Boy and Derek Boland (aka Derek B).

Former Black Echoes writer and Kiss head of music, Lindsay Wesker, a noted black music historian, remembers the station, during its formative period, featuring as much Boogie as Rare Groove (which focused on relatively obscure 70’s Funk), making its way onto the playlists of now established names like Jazzie B and Trevor ‘Madhatter’ Nelson. It was such a big deal in London that Kiss would even release two volumes of their ‘Boogie Tunes’ compilation on Graphic Records in the late 80’s, making a number of highly sought after tracks available on vinyl at an affordable price (echoing Northern Soul, collecting Boogie and Rare Groove was both time-consuming and a drain on the pocket).

But, returning to the question of how the term Boogie came to represent a category of music in the first place, the first clue I could find was in a copy of Blues & Soul from September 1981. This was in an advert for the launch of Jazzifunk Club’s Saturday night at Camden’s Electric Ballroom. George Power, headlined, supported by Paul Anderson (who’d cut his teeth alongside Power at Crackers), Chris White, Colin Parnell and Boo, with the ad referring to the venue’s 2 floors, which proclaimed ‘Jazz On Top! Soul, Funk ‘n’ Boogie Down Below’.

During the early 80’s, specialist club nights would list the music featured as Jazz, Jazz-Funk, Soul, Funk, Disco, and later Electro or Electro-Funk, but never Boogie – the Electric Ballroom was unique in this respect. The only exception I’m aware of was a little known venue called ‘Gemas New Caprice Club’ in Watford, which, in London’s Groove Weekly magazine, advertised ‘Up-Front Jazz-Funk and Boogie’ in August 1982, having previously used ‘Jazz-Funk’ on its own). However, the trail came to an abrupt end at that point and I couldn’t find any further mention in either Blues & Soul or Groove Weekly during the coming years. It certainly wasn’t classified as a genre by the main London import specialists, like Groove, City Sounds and Bluebird.

I wondered if there was any direct link to Roller Disco, which had come to the UK, with limited success, from the US. Interestingly, a cash-in Hollywood movie called ‘Roller Boogie’ had highlighted the craze in 1979, and, by co-incidence, the Electric Ballroom would launch a mid-week Roller Disco night in 1982 with Paul Anderson as DJ. Andrew Mason, from New York’s Wax Poetics magazine, had told me that Danny Krivit, who both deejayed at New York’s legendary Roxy (which originally came to prominence as one of the top Roller Rinks in the country) as well being an accomplished skater himself, explained to him that the slightly shuffled clap / snare on the 2 and 4 (as opposed to a steady 4 on the floor beat) was best suited for skaters, who pushed off on alternate legs to that rhythm. Vaughan Mason’s ‘Bounce, Rock, Skate, Roll’ is an obvious example, as is Chic’s classic ‘Good Times’ (which, of course, includes the line ‘clams on the half shell and roller-skates, roller-skates’).

So, basically, the best music to roller skate to, especially in New York, where the most impressive skaters were generally black or Latino, was funkier edged Disco, including many tracks that would later be regarded as Boogie classics in London.

Doing some further detective work, I checked with Danny Krivit to see if the term Roller Boogie was widely used in the US, and he informed me that it was only ever something people might say on a mainstream level, following on from the film, and definitely not how hardcore skaters would refer to the music. It seems that, just as over here, the word boogie was actually considered corny, rather than cool.

So, it wasn’t until a mainly black audience of dance music enthusiasts from London re-adopted the term, to describe the retrospective groove they were into, that Boogie reclaimed its credibility. “Nowadays”, as Sean P points out, “thanks to eBay and the general spreading of the word over the past couple of years, people from the US, Europe and wherever use ‘Boogie’ as a generic term, to describe early 80’s dance music of black origin”.

click below to listen

BRENDA TAYLOR – You Can’t Have Your Cake And Eat It Too (Greg Wilson edit)

DANIELE BALDELLI ( redbull academy interview)

Posted in DANIELE BALDELLI, Interviews, Soul/Disco on July 7, 2008 by bangtheparty

RBMA: »Let’s welcome Mr. Daniele Baldelli. In the ’70s, New York had DJs like David Mancuso, Nicky Siano or the early Larry Levan; in Italy there was Daniele Baldelli

Daniele Baldelli: »I started in 1969 in a club named Tana in Cattolica. But I think nobody called me a DJ back then. When people asked me: “What is your job?”, I answered: “I play records in this club.” I had no mixer, no headphones, nothing. Just 7″ records. I put one 7″ on one turntable, when it was finished, I started the other one. When there was silence in between, nobody cared. People were used to wait for me and the next record.

But still I tried to put the records together – even though the turntables didn’t have pitch control. At that time we had Lenco turntables. With them, you could adjust a level in between 33 and 45 rpm. So I had at least some kind of pitch control. As I didn’t have headphones, I listened to the needle on the record. And when I heard that ‘tz-tz-tz’ sound, I knew that it was time to start the other record.

As we had automatic turntables, I couldn’t just press stop. You had to push a button and wait for the tone arm to lift and go back automatically. Sometimes you were late. Then you had to wait for the tone arm to react. But we had these automatic turntables only for one year. The development of the equipment was very fast. When I started, I was just 16 years old. I used to go to this disco club in Cattolica where I lived…«

RBMA: »Cattolica is near Rimini, not far away from Bologna.«

Daniele Baldelli: »100 km from Bologna. Anyway, I just went to this club for dancing. The guy that was playing records had some problems with the boss. So one day, the boss asked me if I wanted to do this job. At the beginning I was like: “Oh no, not me.” But then I was very happy about it and started playing records there.«

RBMA: »You were fond of music. That was the reason why he asked you.«

Daniele Baldelli: »Of course, that was the reason why he asked me. It was very difficult to find records these days. I was DJing in Cattolica, and I stayed in Cattolica. The DJs in Rimini stayed in Rimini, those from Bologna stayed in Bologna. All the DJs bought their records in the same shop of the town where they lived. But I had the feeling that I must find something else.

So I took the train and went to Switzerland. In Lugano, there was a shop where you could buy imports from the USA. I was playing black music or rhythm&blues in the first place – records from people like Joe Tex, Rufus Thomas, Ann Peebles, Wilson Pickett, Etta James and James Brown, of course. I also played rock bands like The Stooges or Atomic Rooster. I played these records only on 7″. Going to a disco was something really new. So everybody wanted to go to discos.«

RBMA: »In Italy, public moral has always been an issue. Discos were regarded as bad places. At that moment, did you have to deal with prejudice?«

Daniele Baldelli: »No, not at that moment. This started later.«

RBMA: »What about drugs? Were drugs common?«

Daniele Baldelli: »No, not at the Tabù club where I played from 1970 onwards.«

RBMA: »So was it just about wine and beer?«

Daniele Baldelli: »Wine in a disco club? No. We had whisky. But back to buying records, I wanted to buy my own records. So I said to my boss: “I’ll buy the records by myself. Please give me a little bit more money.” He agreed. And that’s the reason why I own 60.000 vinyl records now (murmur in the auditorium).«

RBMA: »Today, the DJ is such an important figure. All the girls look at the DJ, was it similar in the late ’60s and early ’70s?«

Daniele Baldelli: »No, I was only thinking about music. Now I know that I must have been stupid at that time.«

RBMA: »You met your wife in a club?«

Daniele Baldelli: »Yes, of course. Where else? I met her soon after I started DJing. So I didn’t have a chance to be a sex symbol.«

RBMA: »You did your job mostly in summer. How was it in winter?«

Daniele Baldelli: »In Winter, the club was open on Saturday night, Sunday afternoon and Sunday night. In summer, we were open every night from June until the end of September, from ten until three o’clock in the morning.«

RBMA: »It was just you DJing?«

Daniele Baldelli: »Yes, just me. Then, in 1974, something very important happened in Italy. The club Baia Degli Angeli opened near Cattolica on a nice hill near the sea. This club wasn’t like anything people had seen before in Italy. It topped everything. The club didn’t have psychedelic lights. It was all white. They played music from 12 o’clock at night until six in the morning. As DJs, they hired two guys from New York [named Bob Day and Tom Season].

Today we know that they weren’t DJs before they started at the Baia Degli Angeli, they turned into DJs here. Their strong point was that they had beautiful music – records we didn’t get in Italy at that time. The export/import business, as we know it today, still wasn’t existing over here. These guys had all the Philadelphia sound, disco, afro funk or afro disco. Nobody in Italy had listened to these records before. When they were about to return to the States, they introduced me the boss of the Baia Degli Angeli.

So I started working in this club. It was very, very, very very… The DJ booth was in a glass elevator. I could go up and down all night. This way I could see the dancefloor on the first level and the other three dancefloors upstairs. At the beginning, the Baia was a VIP club. But then it became more and more popular. About 4.000 went there every Saturday.«

RBMA: »And some of them were American actors visiting Italy?«

Daniele Baldelli: »In the early days, yes. But later on, the Baia was about common people from all over Italy.«

RBMA: »I remember a picture of Grace Jones in the Baia Degli Angeli.«

Daniele Baldelli: »She was there when her first 12” single was just released. I think it was La Vie En Rose. At that time, nobody knew her in Italy. But she was at the Baia Degli Angeli, and I have a photo of her and me.«

(we hear a short mix tape of Daniele Baldelli)

RBMA: »You are using the tweak that the Americans taught you about lengthening the songs by using two 7″ copies of the same record.«

Daniele Baldelli: »Of course. But then I became better than them (laughs).«

RBMA: »But the Technics decks with pitch control as we know them today, they still weren’t there. What kind of decks were you using? And how did you manage pitch control?«

Daniele Baldelli: »Normally, DJs are using these 1200s we have here. But I am still very fond about the Technics SP-15 turntable. At that time, this turntable was really expensive. You bought this turntable without a tone arm, it wasn’t included. So I bought a special oil damped tone arm. It made me crazy when using the tone arm lift caused the record to jump.

And then I found this tone arm in the UK. As the tone arm is balanced by oil, you can even move the turntable up and down – the needle won’t skip. I have four of these SP-15s at home. I didn’t like the turntables they had at the club, so I decided to buy my own and brought them when I played at the Baia Degli Angeli. The SP-15 has LEDs displaying the pitch speed precisely. The SL-1200 MK2 here has plus/minus 8, the SP 15 has a pitch range of plus/minus 10.«

RBMA: »And you could stop the records after queuing?«

Daniele Baldelli: »Yes.«

RBMA: »The mix tape we just heard demonstrated the typical opening of a night at the Baia Degli Angeli. Before you got to the decks, there was no music in the club. Is that correct?«

Daniele Baldelli: »Yes. Can I say one thing? I’ve been playing the same record for one year to close the night. At six o’clock in the morning, when I saw the sun shine, I’ve always been playing Ravel’s Bolero. While this was playing for 18 minutes, I mixed in Pink Floyd, Malinké chants, effects from Jean-Luc Ponty’s violin … Everything I could think of. People went mad, they were full of drugs.«

RBMA: »Which were the hits?«

Daniele Baldelli: »I’ve been asked this question before. My answer was: “Please don’t ask this question. If I mention just one record, thousands of others will be angry with me.” You know, I always care about my records. Some of the tracks I always played were Loleatta Holloway – Hit & Run, Miroslav Vitous – New York or Le Pamplemousse – Get Your Boom Boom.

Of course, many people asked for records that were in the charts. I didn’t like the top ten. So I always played something different. The b-side or something like that. I’m still buying all the underground music of the ’70s. Also nowadays, in 2004, I still find records I’ve never seen before. Somebody must have made them for me, and so I’ll buy them.«

Participant: »I am very curious about the mixing specifically. You had these turntables with the LED. But disco records aren’t staying exactly where you’re riding.«

Daniele Baldelli: »Of course not. The records 20 or even 15 years ago were not electronic. The drummer was a real drummer. Human people were playing. So the song would go up and down. It was terrible to follow a mix. In fact, I had my own idea – or paranoia: All day long, I stayed at home, played one record on one turntable and tried maybe 200 on the other one. Until I found the record I liked to mix in.

I even made notes for the mixing. Like 0.0 with the first record, the other one minus 5 for the first three beats, then plus 3, you understand? I wrote down all these notes, like a musician. Everybody told me that I’m crazy. Well, that’s true. So I always prepared my playlist at home. It was very hard. But it wasn’t that difficult because at that time you didn’t have as many records as you have now. When doing this nowadays, I go crazy because meanwhile there are 60.000 records. In the past, I had to choose only among 3.000 records.

Back in the days, the DJs used to cover the labels of the records. So nobody knew what the other DJ was playing. We were jealous of each other. Even the shops did that. They prepared stickers for the DJs to cover the label. Like this record here (Daniele Baldelli pulls out a record with a stickered label). They put a sticker on it with my name. But I find this terrible now. Because when I want to know what this particular record is, I can’t see anything on the label. So I can’t tell you the title. Sorry.

I made my money with mix tapes. Because the money I earned for DJing was spent for the records. Even today, I’m selling mix tapes to people that are 40 or 45 years old. They approach me saying: “I remember you from when I was young.” I say: “OK, come to me.”

Back in the days, my mind was free. I had no input from anybody. Today, it is rather difficult for me. House music is not exactly my feeling. So when I go to a club once in a while, I hear house music usually. All I can tell is that I understand nothing about house music. At that time, I didn’t know nothing. I just saw the records and chose them by myself for my playlists.

I didn’t know if the record that I was just playing was a top tune. I played it because I liked it. For me as a DJ, the situation couldn’t have been better. I could do whatever I wanted to do. This isn’t the case anymore, as far as I know. Correct me if I am wrong. Today, you have to make the people dance. Otherwise the boss will look at you: “What are you doing? The dancefloor is empty. What kind of DJ are you? Go back home!” Back then, I was free. I never had to be worried about a boss that might send me home.«

Participant: »When you were playing all night, how did you manage to go to the bathroom?«

Daniele Baldelli: »I was young. I could stay in the booth all night long. I could resist.«

RBMA: »The Baia closed in 1978. What happened to your life then?«

Daniele Baldelli: »I didn’t find a job for six months. Because nobody wanted to have the DJ from the Baia Degli Angeli – the club that was full of drugs. When I played somewhere else, the people, and the drugs, followed me.«

RBMA: »You are married. What has your wife been thinking about your job?«

Daniele Baldelli: »She was the girl at the cash desk. So I didn’t have problems. One day, a man from the Lago di Garda came to me and said to me: “I saw you at the Baia Degli Angeli. This Summer, I am opening a new club. I would like to have you as my DJ.” The name of the club was Cosmic. They took the Commodores’ logo and altered it. Stickers were a good business at the time. Everybody wanted to have hundreds of stickers on their cars. So the Cosmic stickers with that logo really sold well.

The Cosmic was another new and groundbreaking thing for Italy. The club was all dancefloor, no place to sit down. The equipment, soundsystem and lights, was incredible. Alcohol wasn’t sold. Only cola, orange juice and things like that. During the first year, I was playing all the music from the Baia Degli Angeli. Disco music, Philadelphia sound and so on. Then, in 1980, something changed in my mind. I started to discover records from all kinds of genres.

Today, I understand what I did and I can explain it to you. But back then, I just followed my instinct. So I played an electro track and mixed it with an African song, and then one from Brazil, followed by an electro record from Germany. This was mixed with a jazzy song and so on. The music was a melting pot. The people liked exactly this crossover of styles when a funk guitar was mixed with an electronic Kraftwerk beat.

The one thing I don’t like about house or techno is that you can put on any record. I don’t want to say that they are all the same. But it’s far too easy to do a mix. It’s always the same beat. I prefer to create my own music, combining the guitar of this record with the percussion of the other one. Or maybe the voice of this record goes down well with the voice of that one. My opinion is that you all should go the same way when mixing.

There was a famous shop in Rimini; Disco Più is its name. Every week, they received a lot of new records. Some of them, they had in a quantity of maybe a hundred, of others they got only one copy. Those were the records that nobody wanted to buy, so they put them on my shelf. “Baldelli takes everything,” they said.«

RBMA: »So you don’t go to the shop and listen to all the records?«

Daniele Baldelli: »No, no, no. I listen to everything. There are good tracks in every kind of music. I also find good techno records, but I play them at 33 and not at 45. I just want to give you some examples of the records I played – or how I played them. Changing the speed of the records especially worked with dub records. (Signore Baldelli plays us a dub reggae record at the original speed of 33 rpm) This is nice. (changes the speed to 45) But like that it’s even nicer.

The next thing I want to show you is something I can do because I am Italian. Most Italian people don’t speak English. So we never understand the words of a song. And that’s why I don’t care when it’s sung in this way… (plays a reggae song with vocals speeded up to 45) For me, as a person who doesn’t understand the words, this pitched up voice is simply music. But I was also doing the contrary. Like this… (now we hear Alien Sex Fiend’s Ignore The Machine at 45) This is how it usually sounds like. But I played it this way… (Alien Sex Fiend slowed down to 33 rpm)

In Summer, when a lot of German tourists were at the Lago di Garda, there got furious sometimes, when I played OMD’s Enola Gay at 33 (laughs). I said to them: “Go back home to your town. I play what I like.” (next victim is a Culture Club record pitched up to 45) Of course, with instrumental music, this works even better.« (Daniele’s weapon of choice is the highly sought after 1979 Decca single Underwater recorded by Harry Thurman – slowed down to 33) This sounds terrible when played at the right speed (switches to 45).«

RBMA: »So most people didn’t notice that you played the records at the wrong speed? I mean, except of those Germans who didn’t like Enola Gay on 33.«

Daniele Baldelli: »At the beginning, people didn’t know this. But then they started to understand. They were used to going to the record shops with my mix tapes. Then they went to the guy working there and said: “Listen, I want to buy this record here.” So one day, somebody from the shop called me: “Stop to play the records on 45! I never understand what the people want from me.”

There’s another nice story I’d like to tell you. Maybe you can even help me. I know for sure that some dub musician – Scientist, Yellowman or Mad Professor – wrote on the cover of one of his LPs: “To the fucking Italian DJ who plays our records at the wrong speed.” I want to find this record!«

(Daniele Baldelli presents a mix CD he recorded three weeks ago. The mix catches the original vibe at Lazise’s Cosmic club in the early ’80s. Moreover, some photos taken at the club are shown)

Daniele Baldelli: »Now I want to show you what I did 18 years ago. Please don’t laugh, please consider at that time, I didn’t have the machines you have today. You had to do everything by hand.«

(video screen: DVD shot at Cosmic)

»I remember the first drummachine, an old one from Korg. It was like a typewriter. I have bought a lot of keyboards and drummachines. Compared to today, these machines were really nothing. My sample keyboard, a Prophet 2000, only had four seconds of memory. So I bought three of them in order to have twelve seconds. Nowadays you can buy loads of memory for that money.«

RBMA: »So you had three decks and a sampler?«

Daniele Baldelli: »In that period, I drove to the club with my own van. I brought my mixer, my turntables, my monitor, my amplifier, three keyboards and two drummachines.«

RBMA: »The turntables were the same that you used in the Baia Degli Angeli?«

Daniele Baldelli: »Yes, the Technics SP-15. You’ve seen it in the video. The mixer was a Teac Model 3.«

RBMA: »Were you playing with these machines all night long?«

Daniele Baldelli: »No. It was for ten minutes every hour or something like that. Otherwise the people would have thrown vegetables at me (laughs).«

RBMA: »So this was like a live gig.«

Daniele Baldelli: »Yes, like a DJ concert.«

Participant: »Now we know that you are the master of this sound. But there were other DJs on the same scene as well. I think of names like Tosi Brandi, Loda or DJ Ebreo.«

Daniele Baldelli: »But, as I told you before, everybody worked in his own club. There were five clubs on this scene in Italy: Cosmic, Melody Mecca in Rimini, Typhoon (Gambara, Brescia), Chicago (Bologna) and I don’t remember the other one [Les Cigales in Bedizole, Brescia]. The DJs in these clubs played more or less the same thing.

But everyone had his own style. For example, Moz-Art, Claudio Rispoli, – who is now part of Jestofunk, maybe you know this group – was more fond of jazz. He played a lot of Weather Report, Don Cherry – this kind of music. Ebreo, Mauro is his real name, he played a lot of Brazilian stuff – Jorge Ben, .Gilberto Gil, Tania Maria and so on. Another one played more reggae. I played what people call cosmic style now, that is everything mixed together. My music was more electronic. The others went more in the funk direction. I played funk or Brazilian as well, but the matrix was electronic.«

Participant: »I have a question. Did you have much contacts with the other Italian artists who were making this kind of music? Do you think other artists decided to do electronic music because they heard you play?«

Daniele Baldelli: »At that time, we had a musical phenomenon in Italy which is known as Italo disco today. But I didn’t like Italian music back then. For me, it was all shit.«

Participant: »Was the music of producers like Mario Flores, Claudio Simonetti or Rago & Farina appreciated in Italy at that time?«

Daniele Baldelli: »They didn’t know me and I didn’t know them, sorry. Italian people are always looking abroad. I think this is still the case. 20 years ago, we were looking at the USA, the UK, Germany. Next thing I want to show you is a new project of mine – Funkadiba.

Next month another CD of mine is coming out. It is called Daniele Baldelli – My Funky Side. Twelve tracks. I used musicians: trumpet saxophone, double bass, keyboard. These people realized the ideas I had. In early 2005, there will be a Cosmic compilation. I won’t tell the name of the company. This will be a mix CD. This compilation will be released all over the world.

The label is about to clear all the licenses of the tracks I chose. A few of them I have here. One is by Richard Wahnfried, a project of Klaus Schulze. Do you know the label Innovative Communication from Germany? The track I’m playing you now was a big Cosmic hit. I’m playing it at the right speed, by the way.«

(music: Richard Wahnfried – Time Actor)

RBMA: »This was the first electronic record you played?«

Daniele Baldelli: »It was one of the first. I played many records from Klaus Schulze. He’s always been on Innovative Communication. And also the Sky Records label from Germany – they had a lot of electronic music. Now I can make my own edits of records like this with the computer and burn them easily on CD. Back then it was more difficult.

For example: there was one record I was playing at the Baia. I can’t remember the group. It was named Cosmic Melody. They were singing: “Cosmic, cosmic, cosmic melody, melody melody…” I liked only this part. And I thought this is something for me to play at Cosmic. So I recorded it with minimum speed and made it three minutes long with my Revox reel. Also with cassettes, I recorded electronic effects.

So I could play a record and effects on it. I used an equalizer, it was a GE-20. Today you can buy a lot of effects. There are so many machines now. I used only the bypass button, made a strange equalization and switched it on and out in the rhythm of the music. So I had this effect the equalizer can do. The effect depends on the frequency you use. In that time, this was really a fashion. And today, people tell me that they would prefer an old equalizer to all these modern machines.«

RBMA: »How long went the Cosmic thing?«

Daniele Baldelli: »It lasted for five years; from 1979 until the end of 1984. The club was built for thousand people. But outside, in the park, there were more than 3.000 people.«

RBMA: »Because it was so crowded that they couldn’t get in?«

Daniele Baldelli: »No, I think they stayed outside for their drug traffic . The fashionable car at that time was the Citroën Diane. The poor people had a Diane or a Renault 4. Those with money owned a Citroën DS. So the people had these kinds of cars. They stayed in the park all night with their cars, which were plastered with stickers of Cosmic and the other clubs. The doors of the cars were open and the people played my tapes. They didn’t go inside. If they went, they did it to buy a cassette.«

RBMA: »So most of these people stayed outside on purpose?«

Daniele Baldelli: »The people who were using drugs, they stayed outside. They had to spend their money for the drugs.«

RBMA: »I suppose, Cosmic had problems with the police.«

Daniele Baldelli: »Of course, they closed the club twice. And then it was finally shut down in 1984. A strange thing about Cosmic was that the club opened at nien o’clock, at ten it was crowded and we closed already at one o’clock. Today, the clubs have many problems with the authorities.

They say it’s dangerous when people go out until the early morning, drink a lot of alcohol, take drugs and then drive back home. But back in the days at Cosmic, it was the same thing. It’s stupid to drive a car when you have taken some kind of drug. In Germany, people take a taxi. But in Italy, no. Here it’s like: “I want my own car because I am Italian and powerful.”«

RBMA: »What happened when Cosmic closed?«

Daniele Baldelli: »Again I was without work for six months (laughs). Then I returned to Baia Degli Angeli which was reopened as Baia Imperiale. The style was like in a Cleopatra film.«

RBMA: »It was a nightmare, believe me. The Baia was transformed into the scenery of an ancient gladiators movie with fake statues of Roman gods and so on.«

Daniele Baldelli: »…like a temple.«

RBMA: »So the original minimal style of the Baia, which was a trademark, was totally transformed into something like a theme park.«

Daniele Baldelli: »It was like Hollywood.«

RBMA: »Yes, the crap side of Hollywood. Like Hollywood trying to recreate ancient Rome.«

Daniele Baldelli: »At this time, I started to play a little bit of house music. These were the early days, I played stuff like Frankie Knuckles, really good stuff. But also in that situation, I was attracted by the b-sides. This may be the reason why I had no success with house music. I never realized that the a-sides included the good tracks, the ones that the people wanted to hear. I stayed at the Baia Imperiale for six years, from 1986 to 1989. Like I did at Cosmic, I was also using synthesizers, samplers and drummachines.«

RBMA: »So you had no success because people didn’t like what you were playing then?«

Daniele Baldelli: »It just wasn’t good enough.«

RBMA: »You had some relation with the blooming piano house scene in Italy at that moment. Did you know people like Black Box personally?«

Daniele Baldelli: »I know Daniele Davoli. I know all of them, of course. I have done a lot of productions myself, only 300 copies of each release. It was very hard to sell all of them. My mind was not ready to make a hit or create a beautiful song that people wanted to buy.«

RBMA: »At the same time you were doing Cosmic revival nights.«

Daniele Baldelli: »No, I had stopped everything. I started Cosmic again in 1992/1993.«

RBMA: »You were asked to play in Germany and Austria. How did that come about?«

Daniele Baldelli: »As the Cosmic club was at the Garda Lake, Austria and Germany were near. During the summer, a lot of people came to the Garda Lake for holidays. People from Innsbruck started doing Cosmic parties and invited Italian DJs. This has grown within the years. Every year, there’s a big festival named Afro Meeting in Innsbruck. This lasts for two days, 5.000 people and more have been there. The music on the Cosmic CD which I had played you before, people in Italy were used to call it Afro sound – for whatever reason. But this is not the correct term for my style because I have been playing electronic music.«

RBMA: »You have no idea why they have been calling it Afro?«

Daniele Baldelli: »Maybe it’s because I also played records like Manu Dibango’s Soul Makossa or Johnny Wakelin’s In Zaire every now and then.«

Participant: »Can I ask you a question? I’m from Ireland. I was never aware of the depth of history of Italian music, and your involvement in it. Have you ever thought of documenting your story so that the next generations of DJs can appreciate what you did?«

Daniele Baldelli: »I think this is going to happen because now I am here. I can also tell you about Maestro. Josell Ramos is the director of that film. It’s a 90 minutes documentary of the disco scene in New York also reflecting on the fact that the first disco DJs were of Italian origin: Francis Grasso, David Mancuso, Victor Simonelli. This film shows that nightclubbing was born in New York or how the first 12″ single was created. There are a lot of interviews with the people who were involved in New York’s disco scene.

One day, Josell Ramos came to Bologna and presented the film. We talked a lot, he knew about me and wanted to hear my story. He did an interview, and now I am in this film. I think I can be very lucky that I had the opportunity to experience that era. I have gone through everything – from the early beginnings, from rhythm&blues, soul, funk and disco until now.

A young man like you will know only nowadays’ scenes, of course. But if you are very fond of music, you will also be able to go back for sure.«

Participant: »In the video from 1984 that you were showing us before, you played that “fresh” sample on your synthesizer. Do you know what I’m talking about?«

Daniele Baldelli: »No, I don’t remember.«

Participant: »It sounded like scratching.«

Daniele Baldelli: »This sample keyboard was a Prophet 2000 and it came with factory samples. These also included some scratch style sounds.«

Participant: »The reason why I’m asking is that what you did was very similar to early hip hop turntablism at the time in ’84. It really struck me that you were thinking about that the same way. This is cool. Did you ever think of scratching?«

Daniele Baldelli: »No, I can try that when I’m older (laughs).«

Participant: »Were there any scratch DJs in Italy at that time?«

Daniele Baldelli: »I have been to an Italian DMC competition back then. But the DJs didn’t really know what to do there. So everybody thought that it’s about playing as many records as possible within the time given. The one playing the most records was the best. But then, after one or two years, we have seen what’s happening, of course. I like that very much. Not because of the music. I like the skills.«

Participant: »I saw that you were DJing together with a drummer. For the future, could you imagine to play with a scratch DJ?«

Daniele Baldelli: »For the music I’m playing today, I don’t need a scratcher. From 1996 to 1999 I worked in a club where I played only funk and soul – from 1969 until now. There, I used to play with a saxophone, a trombone or even a quartet. On my signal, the drummer started to pick up the groove of the record and then the band played the song.«

RBMA: »Any other questions? No?«

Daniele Baldelli: »Go back home (laughs).«