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WITH Deejay Legend Beppe Loda, FROM Dr. Nischimura (Cisco Rec./Japan),


Questions and answers 8-16
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8) The artist like Daniele Baldelli or Mozart, Meo, TBC were all djing in the same period of time, and were they all related as friend or what was the relationship between them? Did you have any rivalry with all those people.

I don't believe there's a spirit of friendship among them. My relationships with all the other djs except one, have always been normal.

There has always been a little bit of rivalry but a constructive and respectable one; of course my preference goes to those colleagues with whom I had a greater collaboration.


9) You once worked with Francesco Boscolo as Memory Control One, and released the track called BASIC in 83. And you also released for the typhoon music machine series including BASIC's remix in 90s. Could you tell us if you have any policy when you produce the track or any special episode when you were producing tracks?

Francesco Boscolo and I formed the MC1 band in 1983 and we straight away got into a recording studio to come out with "Basic" the publication of which took place in 1984 and the realisation of which can be defined as the first "italo synth" track.

Nothing in particular happened during the recording if not after it. Immediately after the recording of "Basic", the owner of the label, meant to present its publication made us get back to the studio together with a new sound technician, Massimo Noè (an excellent Milan based studio sound engineer), to work out a much more commercial version. Francesco didn't want to be bothered about it and so I then happened to be the one to assist in the dismantlement of our beloved "Basic" which had been built up with its own logical purpose as well as an almost totally spontaneous style and all this can easily be noticed by listening to the two existing versions.

A new issue of "Basic" is underway for "Synthonic" label of Paolo Scotti, a regular attendant of "Typhoon".

In 1985, the second 12" mix and part of the MC1 album both of which ought to have come out in 1986 were ready, yet no record company was interested in the publication of instrumental electronic music records, thus the "italo synth" style; unfortunately, those were the years of "italo disco" and "new romantic" and such an attitude, even though incomprehensible, was very much diffused.

The MC1 project is however alive and kicking. The objective continues to be that of creating very expressive music which can also be suitable for dancing as well as talk about us; with all this coming in by means of a style and vintage sound effect, strong enough to represent visions and imaginary views as was being done by Walter Wendy Carlos, Isao Tomita, Conrad Schnitzler and Klaus Schultze.

After almost a four year break, we got back in 1986 to work out two tracks of the "electro dark" style which Francesco and I had renamed as "electro monster" but once again this time, we were too much ahead with respect to the prevailing taste and had gone too far. Some years later, we authorised a musician friend of Francesco's to use part of "electro monster"

After this ultimate disappointment, we decided to abandon the carrying out of these projects which were too innovative for the Italian musical scene and I personally stopped programming electronic music during my dj sets; "BL27 Elettronica Meccanica" by the end of 1987 which represented the last tape of the 1980's electronic style.


I got to know the German "DJ Fred" halfway through the 90's. Fred asked me if I would have liked to remix by my own choice some tracks of the 1980's style. I accepted it enthusiastically but upon the agreement that this project remained open to all those djs and, or musicians who for having something interesting to express, would have wanted to take part. Fred thought of naming the project "TYPHOON MUSIC MACHINE". We came out with the publication of 5 records, yet we already had other three of them ready, thus in collaboration with other Italian, German and Austrian djs.

We had also prepared other remixes of "Afro Brazil" music for a project which ought to have been called "TYPHOON AFRO MACHINE".

They are projects which still remain open and some djs spread all over the world continue to contact me for participation.

I hope you too, Nishimura, can soon collaborate with us.


10) Francesco Boscolo was the member of the progressive rock band called "Egotrya"? And we heard that your DJ mix called Elettronica Meccanica was inspired by Conrad Schnitzler... Did you have any relationship with the artists or music scene of progressive rock or new age music with synthesized instrument around that time?

To this question, Francesco Boscolo directly answers: " I formed the Egotrya group in 1978. We came out with two albums but only the second one had its publication.

The name Egotrya is the fusion of two words: ego which in Greek means I and trya, a Latin word meaning three, like the (rock, electronic and melodic) styles which we wove together to create our sound.

The extremely beautiful sleeve of our album was worked out by a Milan based female painter".


The "Electronic Meccanica" tapes are six: five are included in the "Dance" and "BL" series, with the sixth still remaining in my mind.

As a result of my living in an industrial area as well as listening to "Meccanica Popular" and Conrad Schnitzler's music, I had the idea of preparing dj sets by using tracks with a rhythm based on syncopated beat combined with other tracks which recalled the mechanical movements of the machines and the alienation characterising life in the factory. I also used sounds directly recorded in workshops and then sampled.

Although I like very much the "New Age" and progressive rock, I never had any direct contact with musicians of these two genres in those years.


11) Do you think your dj style gave some impact on the italo disco music which was released a lot from many italian labels later? Please tell us if you have any thoughts or comment on italo disco.

Despite my knowing lots of "italo disco" artistes and producers and in spite of some of them being my friends, I'm firmly convinced of having just in some way influenced it. Often in that period, most of them called in at my home to listen to records in order to find new inspirations or make me listen to their new productions. As a consultant, I have contributed towards the production of several records.

Just like all musical genres, also "italo disco" has got some tracks which appeal to my taste and others I find non-admirable.


12) At that time, did you know about the other disco scene like NY's The Loft" or "Paradise Garage" or "The Saint"?

Unfortunately, I know far too little about the New York disco scene of that period.


13) The italian unique dj style like you gave a lot of impact or influence on the outside of Italy such as Germany or Austria and made their own unique scene on their own, could you tell us if you had any relationship with those yonger generations who got influenced by your music? What did you think about those younger generations who got big impact from your music?

After a thirteen year great success by the mid 1990's, "Afro" music was beginning to undergo a phase of decline. Some of the historical "Afro" djs had effected a change of style by getting themselves oriented towards a more commercial music; besides, new Italian, German and Austrian djs, inspired by the fathers of "Afro" and willing to make a comeback, were proposing a mix of "Afro", electronic, dance and Brazilian music of my repertory, thus by simply adding a 4/4 bass drum.

This solution termed as "Cosmic music" made it particularly easy for the mixing of the tracks but it was difficult for these new djs to maintain the qualitative standard of the historical "Afro" djs.

Many djs especially in Germany were taking their inspiration from my sets; with some throwing more light on the electronic aspect, some on the African and Brazilian one and others on that of soul/funky/blaxploitation which characterized my final working period at "Typhoon".

I must say that some of these guys for whom I was a sort of "little music father" ("padrino musicale") have really become great.


14) If you have any favourite artist or the music you think you like, please tell us.

By listening to all musical genres except the commercial one, I have always in each one of them found something valid which pleases me as well. I would have to make a list of roughly 8,000 artistes.


15) We heard that you are working on new release of Memory Control On, including this plan, please tell us your forthcoming plans or release information.

Yeah, as MC1, we are recording some new versions of the second 12" and also working towards the completion of the album.

I've also got many other projects underway which I'll make known at the right time; there will however be several surprises.!


16) This is last question. Could you tell us 10 classic tracks which were played a lot in that time at "Typhoon"?

I remained the resident dj of "Typhoon" for all its seven year activity and I programmed a lot more of records than the other djs.

Classified under musical genres, these were the tracks which inspired and helped me most to make people appreciate alternative music as well as dance to its beat and rhythm:

Electronic: Klaus Schulze - Pain

Tangerine Dream - Exit

MC1 - Basic

Jean-Michel Jarre - Arpegiator

Richard Wahnfried - Time actor

Conrad Schnitzler

Meccanica Popular

New Wave: Yello - Bimbo

The Cure - Three

Chris & Cosey - Voodoo

Human League - Being boiled

Checkpoint Charlie - Das Watusi

Afro / Percussion: Babatunde Olatunji - Jingo

Manu Dibango - Weya

Fela Kuti - Sorrow, tears and blood

Zaka Percussion - Le serpent

Claude Nougaro - Locomotive d'or

Brazilian: Airto Moreira - Parana

Gilberto Gil - Toda meninha baiana

Jorge Ben - Ponta de lança Africano

Sivuca - Ain't no sunshine

Luciano Perrone - Samba vocalizado

Dom Um Romao - Amor en Jacuma

Soul / Funky / Blaxploitation: James Brown - Give it up or turn it a loose

Carl Holmes - Investigation n.1

Hamilton Bohannon - The stop and go

Jimmy Castor Bunch - It's just begun

Gordon's war - Soundtrack

Shaft in Africa - Soundtrack

Jazz / Fusion: Tony Esposito - Processione sul mare

Billy Cobham - Status

Harbie Hancock - Chamaleon / Hang up your hang ups

Ralph MacDonald: Jam on the groove

The Crusaders - Stomp and buck dance

Don Cherry - Brown rice



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