![]() ![]() Cerrone, he was not a friend, but we would see each other at the discotheques when taking our new records to the DJ for promotion.I'm, blu, blue, 90s, techno, malawolf85, eurodance, europop, blue da ba dee, i'm blue, pikachu1391, eopkers I never used a mastering studio I would be there at the Phillips factory, watching the acetate get pressed, making sure the sound was impeccable. If there was any competition, in fact, it was with American and English production. We even hired a karate master to deliver a shout of death - except he had no sense of rhythm, so I would stand in the studio, cueing him when to shout… and trembling on the other side of the mic.Īs disco became popular globally, and you had French artists like Cerrone winning Grammy Awards for Best New Artist, was there any competition or jealousy? Or did you regard them as your peers? We really got into a Japanese mindset: I bought an English-to-Japanese phrasebook, we learned phonetic pronunciation and taught a children’s choir lyrics in Japanese. Shows about kung fu were beginning to sweep through television, so Kluger and I thought about creating a Japanese dance, which we called Yamasuki, but the great sound of the music caught on more. Today we have realism about our present moment, and that is what it is.Īfter the success of “Casatschok,” I was mostly considered a choreographer. In 1968, we had spiritual belief in a more open future. I did not change my point of view that mass consumption is a dead-end of civilization. But I stayed against nuclear factories, against the Algerian War and successfully avoided my own military service. Yes, yes, it was this: it was post-traumatic stress. For years afterward I had to cross the street whenever I saw a policeman, you know? They say there were no deaths but I am certain this is untrue, there was great violence. I was arrested during the student revolution in ’68 and spent three nights in a jail cell without light. I was politically active from a young age. I was curious about the globe and completely against war. ![]() What were your dreams for the world back then?Īh, that is easy. Throughout trips to Kathmandu, Bali and Malaysia in the ’70s, my love for African, Arabian, South American and other music outside the French or Anglo-Saxon tradition kept growing. In 1971, I happened upon Guadeloupe and loved it - the people, the place, and the local rhythmic music, biguine, which I took back to work on in Paris. I always liked traveling: I spent 10 summers of my adolescence in Costa Brava, visited Swinging London, and in 1966 hitchhiked from New York down to Mexico in order to visit the Tarahumara. You produced artists from the French Antilles and the West Indies, kickstarted a cossack dance craze in the late ’60s, and latterly founded an NGO. One thing that’s clear across your life is a fascination with culture and society outside of your own. Having undertaken the grand sum of zero English-language interviews for 75 years, Vangarde made himself available to Billboard from the deep Bahian forests for an extremely rare and rather charming conversation about it all. The comp is surprisingly tight for an era which left no excess untested it’s not a stretch to say, from the colorway of his suit down to his perm, the Daniel Vangarde peering out from the cover might just have been the model for Disco Stu. 25 on Because Music, should re-situate him in a lineage of discotheque-pleasers with a taste for suave, symphonic and Star Wars-influenced material that bristles with joie de vivre. ![]() The resultant compilation, Daniel Vanguarde: The Vaults of Zagora Records Mastermind (1971-1984), out Nov. There were no plans to issue communiqués with the music ecosystem - until now.įollowing a deal with powerhouse French label Because Music, the vaults of Vangarde’s Zagora Records have been busted open. Sufficiently content with both his own success and the imprint he left on the next generation, Vangarde retreated into silence, only fleetingly emerging when required (including a trip to the 2014 Grammy Awards, where he watched his son clean up). Then followed a high-profile battle with France’s publishing and rights society, SACEM, over both restrictive practices for modern artists and historical aberrations for post-World War II remuneration to Jewish musicians. ![]()
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