En åben snak med dj Finn Snor om hans passion for musik.
En åben snak med dj Finn Snor om hans passion for musik.
Welcome to Museo Lokal podcast, thank you, and how it enriches their lives. Every week, I invite a new guest to talk about their relationship to music and how they live and are affected by music. Insight, inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Lokal podcasten Musik mit Druck and welcome to Find Snor. Good day, I don't know. You're called something else than Find.
Speaker 1:Snor? No, it's also my DJ name. It's not what I'm called, no, but where does that Snor come from? Yes, in the best hip-hop style, it's a name that was given to me, based on a DJ trick I did for DMMX in 1988 in Aalborg. Yes, I made a remote for the mixer with a cord. So I took the one gramophone and took it two meters away from the mixer and then I put a cord up, a classic cord with a Danish flag on it for the birthday, and then it was put in the mixer with an elastic and then I stood and pulled it.
Speaker 1:It actually worked like a transformer button and it was, in all seriousness, a completely fantastic trick and people, they didn't get anything, they were excited. It was then in 1988, and then we spoliered the time to 1993, when I was playing on the X-Ray underground the underground that became La Kitch, which I primarily listened to. And then I was standing there with Kjell and Easycut and his brother Martin H, and then they stood there and I said find a string. And then it was like who the hell is finding a string? And then Kjell says to me that's what we call you, that's what we've been doing for the last five years. And then I stood there and thought, fine, I'll buy it. And then it's the name I've followed.
Speaker 2:I haven't known you as anyone else than Finn Snor, which is quite interesting that it's something you do in 1988 for a competition. Finn, where does your passion for music start? Is there music in your childhood home?
Speaker 1:Yes, it's a good story. Yes, I'm looking forward to it Just a moment, please. I grew up in Skoglunde, which is located outside Copenhagen. I grew up in a family of two children and parents. We had a gramophone and we had six records. Maybe only five, som ligger uden for København. Ja, jeg har vokset op I en kernefamilie to børn og forældre. Vi havde en gramofon, og vi havde seks plader Ja, måske kun fem. Vi havde Benny Spadker, så havde vi selvfølgelig Shatame, et eller andet Beatles.
Speaker 1:Jeg kan ikke huske hvad det er, and that was pretty much it. So when my brother was about to be confirmed, the over-board came down and gave him three blank cassette tapes, and then there was a jubilation.
Speaker 2:We didn't have any cassette tapes.
Speaker 1:But then he got a cassette tape and then suddenly there was something out of those five, five.
Speaker 2:Cassette tapes. Yeah, five minutes, that didn't really matter.
Speaker 1:Benny's bathroom was good, but the rest didn't really make any sense.
Speaker 2:Benny's batting car is good, but the rest didn't make any sense, but anyway.
Speaker 1:and then the first record he gets, the Gary Glitter, the one with Rock and Roll, part 2.
Speaker 2:Yes, which KLF will release later on?
Speaker 1:Yes, under Time Lords.
Speaker 2:Yes, exactly.
Speaker 1:And that was like that and I could like those drums. It sounded really really cool. Yeah, so we spored some time forward. So in 1978, my brother started being a DJ and he was five years older than me so I'm 10 years old, he's 15, and he started buying records. And my mom didn't want to know that he bought records, so he hid them in my room.
Speaker 1:So I sat there for 9-10 years and looked at these 7-toms and when he rarely had a maxi-single then it was. So I started looking at these records and you know I was very fascinated by reading labels. It was like getting a book and reading it.
Speaker 1:I didn't know English but I learned that the first remix I knew was John Lungu, or whatever you pronounce it, and that Maxi was Brian Adams'. Let Me Take you Dancing, which he made. Brian Adams is him Brian you think of, but he made a disco record before he was known where he pitched his voice up so it sounded like hey, lys. So that's where it started. But the story gets a little better. I've told the story before, but you get it here.
Speaker 1:My brother starts playing and a guy called Claes Yggenholdt to sell records, and they do that by. He had a record store later called Ding Dong Claes, but before the store opened my brother had the records at home. So in 1980, inside our living room, we had all new music. So imagine being 12 years old and I go into the living room and there's an example from November, the end of November 1981, and there was 5 or 10, detrain, you're the One For Me. There was 5 or 10, don't you Want Me? My Human League? That came out in November, or was it October? And so on and so on. And music is one's best friend. It's been like that in my life and that's made me sit and listen to all that and I was like a fresh computer. I wasn't filled up with shit anymore. No, you were totally different.
Speaker 2:I was not filled with shit, yet no, you were against it, I was against it.
Speaker 1:And around 1979, 1980, it was disco and we went over to. It became more disco, funk, over to boogie, kært, barn has many names, but there was a lot of music. And in 1981, there were all genres in play. Yes, you could hear ska, you could hear disco, or you were heavy, you could be many things.
Speaker 2:Also because the accessibility was like DJ, where it's just around I start and you play what you can get hold of. First of all, you don't have money and second, everything came out not in the vicinity of you or not where I lived.
Speaker 1:I have been a little lucky because I had access to my brother's records and I had access to the store's records, if you can say it like that, and that made me have a very, very broad range and I ran around as a 10-11-year-old and was an expert in Britfunk, for example. It was cool and I yes, I can, but I could like everything. For example, it was great yes, we can, but I liked everything and all the money I had at all I used for records?
Speaker 1:Yes, and when we talked about that I was going in here, I sat down and thought about what my first record was, and we all made hopeless purchases.
Speaker 2:I at least made at least one I still do at the same time.
Speaker 1:But I sat down and thought about it because I bought my first records in Ballerup Center. At that time you had Selangia and Bjørns Radio, and in Denmark at that time there were a lot of American cut-out records, that is, records that are in excess in the USA, and then you send them to Europe and then you get them on offer.
Speaker 2:Yes, so it was like a nice price thing, and then you had to cut the corner of them or whatever it was. Yes, yes, a cover right.
Speaker 1:Yes, so there was just a little gap. Yes, and I copied, of course, my brother, so he bought records and he bought Serone Supernature on single.
Speaker 2:Yes.
Speaker 1:And my first album. That was Sharon LP number three, where Supernature is in that nine minute version. That could do it all. So that was my first LP, french disco from the top shelf and it still holds 100%. The next one I bought, that was also a French record. It was Space Magic Fly LP and I loved that song. I mean, if there's a sad song that says do, do, do, do, do, do, then it's me. Yeah, and it had that and I sat at that time. I moved to Ølstykke and it was 1979. I didn't know anyone there. How old are you, finn? I'm 11 years old, yeah, 11 years old, and I went to interested in so early, right? Yes, I think so, but it's of course.
Speaker 2:I agree with your brother's availability of records. All of a sudden, Because the others we've been with, Do you really want to hurt me and what the hell else I mean it? I don't know.
Speaker 1:Jerome, in 1978, I wouldn't say that, no, no, but I did it when he bought something and I said that's cool, I want that too. And then I became like a brother and now I'm going to find it. But if we just connect it to what you say, what does music mean to you?
Speaker 1:I I mean people who know me today can't understand it, but I was very, very introverted when I grew up and I was very, very introverted when I grew up and I would rather sit with headphones on than anything else, and I lived in a place where I didn't know anyone. So I just sat with some really bad headphones on full power and then I heard my Space record and of course my brother had bought some things. So the first bad record I bought was Grease Soundtrack. You had to have that in 1979. You couldn't get it without it. With the T-shirt I didn't get it.
Speaker 1:I got it on a Scandinavian press. In my life, press is very important. It's important where it's printed, not in Denmark or the North. I sat there and got my my brother bought Dennis Parker Like a Eagle.
Speaker 2:LP'en.
Speaker 1:And then we're back in one of those heavy classics which hit me just the same. And then he bought Sex Pistols.
Speaker 2:My.
Speaker 1:Way and Friggin' in the Rain, and they had some cool covers so I wanted them too, so all of a sudden, I also heard Sex Pistols, if not more, two times first and last, and then when he was in 8th grade he was in Germany, berlin with his class. So he came home and you know, as a brother you expect do you have a stick with you or something?
Speaker 1:he didn't but he had a record. Forventer jo, har du slick med til mig? Ja, det har han ikke. Men han havde to plader med hjem. Han havde YMCA med Village People på den tyske Maxi, og så havde han Bee Gees LP'en Spirit Haven Flown, ja, og jeg tænkte bare, det er super, jeg får YMCA. Det gjorde jeg ikke.
Speaker 2:Jeg fik Bee Gees Ja.
Speaker 1:Og så startede der et passioneret. And then a passionate relationship with Bee Gees started for me. I think I had such a gramophone. It's not like today where you have. Is it Tragedy?
Speaker 2:Yes, it's Tragedy.
Speaker 1:Sist er no more på side to, som er den fede.
Speaker 2:Oh, det kan jeg sgu ikke huske.
Speaker 1:Nu kører den ind I mit hoved.
Speaker 2:Ja, det can't remember that. Now it's running into my head. Yeah, that's okay.
Speaker 1:I'm okay On the boys, and at that time I didn't have a technical gramophone, I had an old hovel where they had it on a stick and then they could run down and you could just see when they ran the pick-up, the hoveled plastic up. Yeah, it was new, it was a new thing, but then I got it. And I got it, listened to 2,000 times at the children's room and then I bought my next LP.
Speaker 2:Yes, it was.
Speaker 1:Sparks no 1 in Heaven. Yes, it's a fun place you've been. And for those who don't know, sparks is a fantastic group who every time they make an LP they make a new genre, and here they had George and Marlowe with them. Now, I'm not so cool that I had listened to I Feel Love that time. It came first in 82, but that number no 1 in Heaven, that was the best number ever and it's 749 long or something. Yeah, and that I also heard.
Speaker 2:Have you seen the documentary yeah, I have, it's totally crazy.
Speaker 1:It's on Netflix and I definitely recommend people to go and see Sparks. These two brothers are fantastic, completely amazing when. I got the opportunity to see them on Vega a few years ago there was a meeting for me, yes, and they played those two songs I wanted. Yes, it's like that with music for me, so I'm not.
Speaker 1:At least not now. I have been once. I'm not so focused on genres. For me it's good, and then there's bad music, and bad music I'm not interested in, and so I ask what kind of music I can like. I was once out playing with Christian Dore and then he says to me Finn, for fuck's sake, the only music you buy, and there's nothing wrong with it, it's for the dance floor and that's what I give them right in. Yes, so if you can't dance to it, then it's not, then it's not interesting.
Speaker 1:When I say that, then I have. I can also like wonderful lounge records you know, like I had in 1995. Yes, exactly, I have that too. Yes, and there are also some. But if I have to do something, I have to move my feet to it. The funny thing is.
Speaker 2:I don't buy a record just to listen to it. I've also said that before. I only buy records that I can play. It can be a chill-out set or a sunset thing or whatever it is. I never buy a record to have a record to listen to at home. All my records are bought to be played, whether they're rye or cheap. They're bought to be played, they're not for being hidden in a collection or for people to use them for something else. I'm just playing them for others. I agree.
Speaker 1:And let's look at music again. Music has been a part of my identity and. I've had a very sensible collection. Some would call it massive, Others would say it's entry-level. But everything is relative yes, exactly.
Speaker 1:But it's always been a tool. When I was a hip-hop DJ, there was all this fish with Hashim or the Soul which says it's time, and then you scratch it. I had 16 of them, eight sets of two. You change sets because otherwise it's time and then you scratch it. I had 16 of them, eight sets of two. You change sets because otherwise it's one way or the other, and it's such a thing. I have really many records where I have three, four, five of them, not necessarily because you can scratch them, but also to recall the experience of buying them. Last year I was out with a guy called Kim Ludvigsen who had hit records in his time and he was in the beginning of Street Dance when they opened and I got him upstaged. I knew him. At the time he didn't know me, but I can remember. I was 12-14 years old Because if we go back to my brother, I grew up in a port shop I consider it an incredible privilege. It's the price for my loneliness, if you can say that.
Speaker 1:But there's not one record from no. It's of course exaggerated, but there are very few records from 80 to 84, I don't know.
Speaker 1:And what kind of underwear did they wear when they recorded it? A bit nerdy, but again, there's not so much scrawl in your head If you ask me today I probably won't remember that, but you know you were in those stores and you heard everything that came and so on. And that makes it a bit strange in between, because you mention a record and then it goes back when we meet today if I look at your shirt and say hey, you have a Factory shirt on and then you just run a film in your head.
Speaker 2:Yeah, those are the memories you have when you've been so passionate and go to as much music as both you and I do. When did you start DJing? In 1982.
Speaker 1:Yeah, my brother. He went to a DJ school at the Undrumskolen Hampen in Ølstykke, so I was often up there and then he taught the locals up there to be DJs and the like and then you got a chance to mix two records together.
Speaker 2:Yes.
Speaker 1:So, if we're talking about being a DJ, so what fascinates me most about music from 1980, and to this day is when you mix music together, that is, to make a mega mix or mix from A to B. So you're sitting there and you're not DJing, and you need to understand what I mean by that. So, like making food, you have a lot of ingredients. Each one of them doesn't make sense, but when you put it together, something completely different comes up.
Speaker 1:And that's how it is. So in 1982, it's a very skilful story. I started in 1982 and played at the NIS discotheque, which was a youth discotheque in Stengade on Nørrebro, and it is, without a doubt, the most influential club we had in Copenhagen. I remember Kenneth. He started down at Dadis in 1982, and I was at Dadis every Friday and Saturday in 1983 as a 14-15 year old. Yes, we sat down there from open to lock.
Speaker 2:Yes.
Speaker 1:And I could fucking hear all the numbers.
Speaker 2:Kenneth played yes.
Speaker 1:So you can say what you want, and we've had a long relationship with each other, but he's always been the most important DJ in the 80s here at home, and also later, of course, but he's very, very important for where I ended up and where I ended up in the years to come.
Speaker 2:Also for me. For the entire time he's had a big impact on us.
Speaker 1:I have to respect that. But outside of that, the disco Nis was a Soderbergh's disco and that's a little weird, because when I talk to people today it's like Nis those who can remember that they get fire in their eyes and those who don't know what a Disney is. Oh, what then? Yeah, but if we look at the musical landscape that time, then so there was nothing exciting and there was nothing on the young people's premises, but out there we actually played all the music that we today relate to.
Speaker 1:It's a Larry Levan record. A Larry Levan record was played at Paradise Garage where he was DJ, and it's an expression for oh, that was something you heard in New York. Yes, you did, but they sold thousands of records and it wasn't just him who played it. And in Copenhagen they went out on a lease. Tbn Brønden had played there just before, when it was Rullskøy Discs, and then it became the Youngstown Discs. They didn't have any spiritual licenses, so everyone was 14 years old and stood there with their self-sufficient clothes and such it was New York funk. It was Duran Duran, it was Planet Rock, or maybe Tommy, who also played out there quite a bit. He played Planet Rock with Midsommar, sang med Chibidua, because they both run 127 on IBM. It was such a musical cake. And when you use a cake then I do it as an overkill to talk about Kim Schumacher, because when I talk we talk about what music is, and music is the soundtrack to your life.
Speaker 1:Overgang til atale om Kim Schumacher. Fordi når jeg taler, vi taler om hvad musik er, og musik er jo soundtracket til dit liv. Så når jeg siger noget med 83, 84, så er de fleste de tænker Studio 84, eller Tilsvarende. Og så kommer de ind på noget hvor de har en sang og de kan huske hvor de er. Og hvis du skal lave en film og du skal have den to take place in 1975, then you play a piece of music from 1975, and then it works. And that's how it works. But when Kim started his programs, I can remember I didn't like to listen to it because he didn't play new music. I came from, I knew all that music and for me it was like it's the last year that thing I mean.
Speaker 2:why should I listen?
Speaker 1:to it. I Not at that time, but it is today. I was very fascinated by it. Yes, I would say that people today remember 90% of what he said and 10% of the music, yes, but I can well backbend when I hear the music.
Speaker 2:It's not where I was most in the music at that time.
Speaker 1:No, no, no, and that was also fair enough. But I mean I grew up with now I mentioned those things and then my brother's Christmas gift to me in 1980, it was Sugar Daddy. Another One Bites the Dust that version yes. And that's like what characterizes the music I'm interested in and they've been quite edgy from the start.
Speaker 2:It's very impressive actually, because I grew up with the gangsta pop hits and such and my first record was Gasoline and Kaj Andrea. He's said to be a pop or something and then it becomes pop music and Melodikon Prix and I've played all of those things and first of all, I'm starting to get interested in the music of the time because of the music of the time, with Paradise Garage, with Larry Levine DJ, with the Loft, with David Marcuse. It came late in my DJ career but I'm very impressed with the music. Listened to this music so early on.
Speaker 1:It's crucial, it must have been the difference in the environments. Yes, to draw a parallel to another one Ken Larsen, dj Duke, his brother Benny was also a DJ. He was also on the NIS. He had his brother's record collection. So we had the same thing and that means that you could say we started first in the field because we were already tracked into it.
Speaker 1:But when you mention what normal and similar is. I remember a funny thing. It was in 1980. I was in sixth grade and then I go to this little private school where we're going to Norway for a week on ski vacation and then Finn got a bond. We had the sickest New York disco funk here and when you're at school parties and stuff you fight over whose bond you're going to put on.
Speaker 2:That works. That's what it does to private parties today.
Speaker 1:And when.
Speaker 1:I think back on it, I have my memory of music and that's what it is. When I think back on it, I have a memory of music and that's what it is. When I think back on it. There's a number that's like this, bling Completely clear in front of me and there I can remember that all the others they wanted to hear Monotones, that Dutch group, they had some kind of hit and they thought it was the coolest. And I had hanging out with Cool and the Gang on loop in my head and every time can think about it. So it just went.
Speaker 1:Yeah, yeah yeah, and peace with that. But when you're young, you're also just a little more, a little more square, because you also want people to see that you're right and why you're right.
Speaker 2:Yeah, so, so, so yeah, it's always hard to have different, but you've still grown up in a place where there were some. So, yeah, the first mix comes from the USA with, among other things, what are they called Rapper's Delight and those things. There are no one who is interested in that. I'm standing there alone with it and thinking what the hell Is it only me who can like?
Speaker 1:this. That's how I feel. At least I can remember it. I think it's something many people experience the first time you're served a new genre. Yes, my fascination with rap came more from that. I didn't consider rap as a rap song, but as a cover number.
Speaker 2:Okay, and it was an alternative to To the original as they were sent from.
Speaker 1:Yes and it's something I've always loved to be able to find a cover version that's a little different. A simple, a little kitsch example is I have all of James Last's records because he really makes cover songs, because you know he has, let's just say, good Times in a version that's 2.38, and then you can play it for fun. If that's what you do, yes, and I've always loved that. And for me, rap records cover versions and it was based on other songs and it was for many years, so that with rap, yes, I collected on rap, but they did Face Five and Ken.
Speaker 2:Lars.
Speaker 1:Ken Larsen and TNT and all that. But what's interesting you say we have someone to talk to you about is that we had a culture or a thing in Copenhagen that we collected on American marxism. Yes, I've heard about that and that's.
Speaker 2:And that has something to do with tempo right.
Speaker 1:No, no, no when.
Speaker 2:I heard that marxism. They were supposed to run 33.
Speaker 1:for some others it comes a little later it comes when we're hip-hop DJs, because then 33 is easier to make cutbacks with. That is to say, when you have two of the same, then you play the same piece again and again when it runs 33, then it doesn't move that fast. No, but it's more that you have that, I would say, aesthetic thing that you want the original. The original for the music I liked was in 9 out of 10 cases American, and then there was a hunt for it and I think that, without exaggerating, from 1980 to 1991, I was in a record store every day. I always had a bag of records with me. Everything I earned went to records.
Speaker 2:That's how it is still for some of us, Not the whole thing, but there are some places.
Speaker 1:But if we go back to those pressings but there are some still, but if we go back to those pressings, it's not like it's just that the American record is the most important. A good example of that is Sharon Red's Beat no, Can you Handle it? From 1980, which is the biggest hit she's made. It's a B-side to Sending my Love or something in the USA, but in England they're releasing the second version. It's the LP version that's coming on Marksie 6-24. I can feel how long it's been.
Speaker 2:Yes, I'm very impressed and it's a cool version and it makes it the one you should have.
Speaker 1:So, yes, but we had this culture and we collected on American Marksies and we gathered American Marxists, and that's also why, when I say that at Disco Tecnice there was always what you heard, in New.
Speaker 1:York and that was what you played. And going back to Kim Schumacher again and then saying well, he played in 1982 and 1983. In 1982, he only played music for 1981. And in 1983, he only played music for 1982. And in 1983 he only plays music from 1982. And when we're in 1984, he only plays music from 1983 and a little before 1984. And then there's a catch but he's playing new and, in my eyes, old stuff. But I can also explain why I'm pull the Kim Schumacher hat up, because if we talk about what music means to you, then music is for me a time travel and it's the soundtrack to my life, 100%. I put a number on it and then I'm back. I can remember the date it came out or something like that and how long it was.
Speaker 1:Yeah, I can remember the date it came out and how long it was, but also that I'm back in a period and I've noticed I haven't been on Facebook for many years but I've made a profile that doesn't have any friends and doesn't even have to have any friends, but that's there because I have a single group on Facebook and in my feed there's nothing but the 50s who are sitting and talking about old electro and so on.
Speaker 1:Okay, and I I like everyone else have had the need to go back and tell a story. So if we go in, and what does music mean to me? It means everything and I had a story I wanted to tell. So when all this focus came to Kim Schumacher, again a book was written and a TV documentary was made and I was with Carsten Laud in a live show where they presented it. And then we sat 200 people in Hotel Cecil and then they showed a lot of his Smeltz films that I didn't know a shit about. It was exciting, but that's not what I know him for. And then they came in and then he made Studio 83. So the whole thing summed, it was like you know it from Dansk.
Speaker 2:Gullet.
Speaker 1:Now he's putting on Billie Jean or Prince Kiss. Now the ladies are on the floor, now we're going to run, now we're running. And then they played a little bit of Music Play or IOU, the whole thing cooked. Then it went 20-30 seconds and then he made a labyrinth. Then we got a washer there. Then I thought I've been with all that history. I I've been in the history of street dance from the opening day to 1991. I started making Kim Schumacher's releases.
Speaker 1:I made a release based Young People's Attitudes. I can't remember what it was called, but three editions. They were put together into one edition, put some history on it and they were made in 1982, I made study 83, 84, 85, and I just finished study 86. And what I can see, and why it's relevant in relation to this, is that I made that little group and I have an insane number of followers. They're all men over 45, and they have that. Oh, it's like being young again.
Speaker 1:Where can you find it? On Facebook, it's called Kim Schumacher, studio 8,. No, it's called Studio 83, 84, 85, 86, 87, 88 and 89 releases. There's a release every year and there's a lot of research going on in it because, as you can hear, I'm talking like a record. Is it the right pressure, the length of the number and all that. So I have all his releases at home. Yes, and I also have all the records or all the music, yes, and then I sit down and then I reshape things a little more compressed. Example Studio 86, there are 37 numbers in it and there are 50 speaks and the first 14 minutes. I've made 100 edits.
Speaker 2:Yes, hold on. So it's not left-handed work, no, no.
Speaker 1:It's well produced and it's simply because when I saw that reaction, I thought that story is not told, because you can read the book and you can see, and then it's just a little, but you don't get into the machine room and that's what I've done. And then I've just accidentally had DJ Tubi, who was the one who helped Kim with his low-key mix. Yeah, no one knew him.
Speaker 1:I didn't know him I don't know him either and I got to know him because he knew Kim Schumacher. In 1983, before I started listening to Kim Schumacher and I got some of those bonds from from the USA that Kim had recorded in the USA and that was Sheppetty Bone Live or Innspillet on.
Speaker 1:Kiss FM in some 90-minute cassettes and that music was again the taste of the new songs. And then go out and try to find them. And there's one song and it took me 32 years to find it. That's right. And when I finally identified it it turned out to be a mix of two numbers and one of them is visible on my shelf. When you have a record shelf, you have those kerosene and you take one record and put it out for the rest. And there it was. I didn't know. It's not because you listen to everything on a record.
Speaker 2:No. I've also often found records that I've had. Everything on a record. No, I've also often found records that I had, or when I've heard some other players say what the hell is that? It's that B-side on the. Oh, I know that one.
Speaker 1:Well, yes, you've probably also tried what I've unfortunately done many times. I know I have a record, but I don't know where it is, so I just buy it again.
Speaker 2:Yes, I've noticed that.
Speaker 1:Yes, that's right.
Speaker 2:So I've also tried that. All this passion, does it come from your DJ career? I'm a little curious how much do you play as a DJ? Are you interested in the competition? We were talking about the fact that you make this kind of thing for DMMX.
Speaker 1:Yes.
Speaker 2:So is it about playing jobs, or is it about scratch and mixing?
Speaker 1:It's about mixing. The scratch part has never told me shit. When I listened to the recording of it I was pretty talentless, okay, but that and mixing two songs together. So historically I have some random acting jobs from 1982 and on it's still.
Speaker 1:In Copenhagen, kenneth played down at Daddy's. He was like a resident, and when he was stopped it was Tino who was down there. And then you came down and you could get a half hour of Tino's set and then play something, and so you got a little bit of a break. But then the mix competitions started to fill up a lot and you really had to use time. And then it went straight over to producing music. So you had to use a lot of time and then it went straight to producing music, sampling and so on. At the same time you tried to get those gigs and you got something here and there. But now where you have five DJs in one evening because then you have a team and then we have five promoters then it was a lot of you being all night promoters, so so var det meget du har.
Speaker 2:du er hele aften Og en en meget skik tanke eller ikke en sjov historie igen.
Speaker 1:Jeg ender jo med at at. Ligesom have min storestid nede på X-Ray. Ja, but they never booked me. They booked Godfather, yes, and I always played with Godfather because he didn't like to play. And then one day Kerstin was sick or something and he had to go home, and then I took the chance, and then he had a problem with producing with Joe, and then I just took his job. So suddenly it was me who was there instead, but they never hired me.
Speaker 1:I of course got my envelope with the money, but that's how it came in. But because I've always been a music connoisseur if we're talking about myself, you must have I had it the wildest, so you know. You stood up on X-Ray, so there was half a film left, and down to me there was a whole pack. And it's something I've also seen later, when I was up through the zeros and tens, when I played down in Kødebyen or Linde, when I got a job once in a while, because I'm not the young one with the big following and I'm not one of those.
Speaker 1:No, no. But they're always so surprised, they're so surprised, they come up and say we'll keep an open hour more we're not used to it. There are so many people no great, and that goes into this thought that when you have experience with holding a set for five, eight hours, then you can keep it running, but you also know how to close.
Speaker 2:Yes, yes, that's right, it's a new culture, it's not anymore. Man ved også godt hvordan man lukker. Jo, jo, det kan man også. Men det er jo rigtigt, det er. Jo, det er jo en ny kultur. Det er efterhånden, er det ikke mere. Men det der med at man kun kommer og spiller en-to timer, altså jeg bryder mig jo ikke om det. Jeg er meget ked af at komme ud og skal have to timers jobs, fordi for mig er det jo warm up. I would like to find the peak records and I would also like to play it down there, where it should be, before we close. So I have incredibly hard time saying yes to these job-spreads in two hours. I don't think it's that interesting, actually. No.
Speaker 1:And I think everyone has different temperaments.
Speaker 2:I think most of what you can say is that our generation?
Speaker 1:we are storytellers and we need to have that journey. Yes, where do we go and when you're looking, especially if you? Play vinyl records. You have a limited selection, and let's just say you have 100, and you're looking at them and you're five numbers ahead.
Speaker 2:Yes.
Speaker 1:And then you have that record, in case it goes completely wrong.
Speaker 2:Yes.
Speaker 1:And if you don't understand what that sounds like, then it's going completely wrong. Yes, and if you don't understand what that is, then it's to put Billie Jean on or something like that.
Speaker 2:So it's a go-to-plate.
Speaker 1:So when you're in town and you hear them play Billie Jean, then it's because everything else has fucked up.
Speaker 2:Then we'll have people on the floor again.
Speaker 1:So I also work with a mantra that says take it easy. I have Thriller and Billie Jean. They're all in my record bag and it's about how long I can avoid playing them. And a good evening, when I haven't played them yeah. So that's.
Speaker 2:And you should always try to challenge people when you play. I mean, when I pack records, both for a job abroad and at home, I have a stack of records I want to play. I always have a record that I always choose. The first record always knows what has happened before me or if something has happened. That's like a place I want to start. I also have the ending song and then I have one which I call the completely impossible, and it's, of course, a good record, but it can be a 12-minute long, completely obscure New York record, unknown B-side, from 1982. And that is my task to get that record in. It's me who has to get people to like that record, and I think that's fantastic. I don't know if it's a leg-spinning, but it's a very, very funny way of playing. You might only have, as you say, 60-100 records in this bag and you have to play them all together to fill the time. Then it's really funny and challenging to say I want these records to work.
Speaker 2:I've spent a long time packing them, of course, but the risk is that it won't work. I know it well and I call it something else. I always call it my dream record.
Speaker 1:It's the one where I sit and think, oh, think about it, I can get it up here. Last time I had such an experience I was married to Rasmus who booked me for a techno-arrangement inside the pump house. There was a lot of people in the hall, but then outside the smokingresalon I got two microphones and I was there with my disco funk and then I played Francine Magie Delirium, which is a disco funk that is very jazzed 78, instrumental, you know and it was packed. It was packed out in that Ryresalon and people came in packed. It was completely packed out of that room and people came in like what the fuck is going on here? But people came out to buy some children and then to smoke a cigarette or something and then they were like, okay, we'll just try that and it's great, and it's there where you have that personal payoff.
Speaker 2:That okay, it's a job at the personal payoff.
Speaker 1:That okay, you are yeah, it's a job and I would say that I have said no to 90% of the jobs I've been offered because, as you yourself say, that I've grown up with, I've been pretty. There's been a edge on the music I've gotten from day one.
Speaker 2:Yeah.
Speaker 1:And that also just makes it that you know you get booked for something. You. It also means that you get booked for something. You have to play a lounge set, okay, fair enough. And then there's someone at 36 with a barbell and wants to hear Britney Spears, and then he's like no, no. And then I have a personality that makes me an answer-deceiver, and it's that there are times when you play, there's an extensive misunderstanding from guests that it's like us who have employees, it's us who pay the salary. No, it's not. No, you're a guest and you're a guest under my rule.
Speaker 1:And you just can't communicate that nicely.
Speaker 2:No, it's hard to communicate to full people. That's how it is. That's how it works. It's the book Buggons. I think time mistake if there's a wrong one, yeah, I mean. It's an arrangement.
Speaker 1:It is what it is you can do your best. You have yourself a club. You can have a thought about who the right people are. I have a really good friend, dj, who plays really fantastic, but he can't play under his real name, because if he has his real name or what he's known for, then there will be too many scary types, you know. So where do you find balance? Yes, yes, it's all about balance, but you can say it's Bugons maybe it's his responsibility.
Speaker 2:I think a little that you at least get as close as possible. What you want with the evening, what you want with the audience, what you want with that staggle as I said, Not the staggle, but the one who has to play and perform the job that's what I think is important the theme.
Speaker 1:And if we go back to the theme and go back to DJ, because Kinebager is world champion in the theme and he's been playing Koma since 1988. Yes, and I was resident on a coma in my time. So when people ask, I always say I was 18 years old when I was in trouble. Because, again, when Kenneth held a party, there was a meeting and you came when it opened and you went when it closed. Yes, that was the style.
Speaker 1:And then he played in the big room and then he would open in the back and then I got that task and that room was like the alternative. It was where I played my Herb Albert records or whatever it was, and I had to avoid everything that was Garage and the like. So that means I couldn't play those New York records I wanted, because they were too close to House and the like. And then I can tell a little story that follows up on some of the stories that have been told earlier. Because he booked Carsten Laub to play New Beat. Yes, so he booked him to play everything on 33, because it was very modern.
Speaker 2:Yes, the whole Belgian style.
Speaker 1:Yes, and it was just. And then there were people who said, oh, that's cool, and I and it was just. And then there were people standing there and it was cool. And I remember when we were down at the street dance and we had to hear it at 33. And I never understood it, but that was what it was. But then he got Carsten to play the records and then when he was done he came in and shined and just fired up for it and I've seen that a few times.
Speaker 1:Another example was on Wega Mathias Madviga. He has so many names. He also plays here with you under a name. He was supposed to be the warm-up for François Kevorkian, and then you said we don't need that much bass. And when he went on it was full and then the whole thing exploded.
Speaker 2:It's a classic warm-up thing, Also when the band is playing. You can only play if the right band comes on, right. Yes, that's understandable.
Speaker 1:And I remember we were in Aarhus and played at Club Fisk Me, Kel, Jay, Strongman and Kenneth and then I played some records and then I went up. So it's that thing about finding holes when can I fit in? Because I never wanted records and went up. It's that thing about finding holes when can I fit in? Because I never wanted to be main man? And then I had to play Black Riot at Day in the Life, which is the ultimate classic of the Koma era. It was played as record number three just over ten. So you learn that it's not like that.
Speaker 2:It's not like that it happens. It's not like that it happens. You learn to know your place instead of warming up.
Speaker 1:Yes, but it became a style later. If you booked me for a warming set, I know what I'm going to play. If you're going to book me to Orlando, you're not going to book me to Main Room Because that's not where I am. I'm going to the obscure things. I don't want to go to the main room because that's not where I am. No, I'm into those obscure things, but in general, we're talking because I'm crazy about music and I listen to music all the time.
Speaker 2:As you said in, the intro you've been sleeping with headphones on Too late for my night.
Speaker 1:No, okay, I don't do that. At one point I got scared because I had tinnitus. But I can remember in 1979, where I got my inspiration from, you heard Radio Luxembourg and it was on AM-bonded or something like that. It was a whole crazy quality. You had a transistor radio and you had a huge lead up on the wall to be able to collect it.
Speaker 2:And then you sat there and you heard and it was right.
Speaker 1:next to Denmark, right? Yes, it was, If you came to host it could move, then it moved and then I can only remember hearing Roberta Flagg and Donna Hathaway Back Together Again, and one of the most important songs of my life Change Searching, with Luther Vandross on the vocals, ran non-stop on Radio Luxembourg. I was like it was absolutely fantastic. And that magic in a sound that's not completely clean. There's some kind of magic in it. I love it.
Speaker 2:And where are we today? Are you still playing a bit, or is it more like At the moment you have this big project with Kim Schumacher and where you spend some time.
Speaker 1:It could be different to play, but I would say I'm active, I'm not active.
Speaker 2:No no.
Speaker 1:I've stopped asking people because it's not that important to me. I have a psychopathic record and I have three DJ bags that are packed with different things, but it's not.
Speaker 2:It's not where you are in life.
Speaker 1:I'm so old man I'm fucking tired. When the clock is quarter past nine, that bed is calling me and I'm a little. But there's also a realistic approach to it to say who the fuck wants to hear what I have to offer.
Speaker 2:Yeah, but I understand that.
Speaker 1:I understand that because I don't want to compromise. No, I mean, I come and play some vinyl and if you're someone who goes up in press and stuff, then you can stand and gawk over it, as you sometimes call it, and be at peace with it. But that's not important to me.
Speaker 1:So let's cut it short and say my project with Kim Schumacher has been going on for a year and the releases are scheduled and the last release will be on December 15th this year and it will be a dry patch. And again, what does music mean to me when I'm making those Kim Schumacher songs?
Speaker 2:I cry.
Speaker 1:It's a lot. I think I'm all red in my voice now. I don't know Kim, so it's not a shame for him. But it awakens so many feelings in me and in the last episode where Kim dies, I can't. It's extremely difficult.
Speaker 2:Is it because of the music? You don't know, kim, but it's the whole story you do with the music that makes you a little. Not immortal, he said.
Speaker 1:He is the catalyst for many of my friends and in my circle of friends, which primarily consists of DJs who started, and the respect I try to give him. By doing this. I play some of my own favorites which I put together with it, and it's enormously emotional and I get very touched. I don't know if I'll ever be done with it.
Speaker 2:Yes, but it's good that you're going to release the data a little.
Speaker 1:But every time I find a number that says, hey, this is the one I want. And then I make a mix and if you're sitting out there listening and you go on YouTube, then they're actually out there with video and everything. You're not in doubt that I'm presenting myself and all that, but there's a lot of detail in it. Everything just has to play. And if I don't get tears in my eyes in this mix, then it's not good enough.
Speaker 1:And that's the embarrassing process I'm in, but it's also something that gives me life value and joy that I can have such a relationship. Now it's put under the umbrella with Kim Schumacher, but it's not Kim Schumacher who's the calculator on that, because I also sit on YouTube and look for music and then I hear a song and then I can just feel the tears pressing on because it's fucking cool this and then you hear a song and I can feel the tears running down my face because it's fucking awesome.
Speaker 2:And then I sit in on Discogs two minutes later and find out if I have any advice for them. Yes, if that's worth it, and not to eat for 14 days.
Speaker 1:Yes, because when you, like me and yourself, have been doing this for so many years, you really know a lot of records, and when something new comes up, like Fresh Meat which is old, they always have a psychopathic price because it shows that it's published on a French press in seven copies. And I found something Caribbean Cosmic Discog I can't remember the title right now. I thought, oh, that's fucking cool. So I went to Discogs 2,500 euros. And then I was like Then it's fucking cool. So I went on Discogs 2,500 euros, yes, and then I was like ugh.
Speaker 1:Then it also happened to me in the story I can't work with Genopress.
Speaker 2:No or.
Speaker 1:Bootlegs it exists, then I can just listen to it on YouTube. So when there's an original for 2,500 and there's an unoriginal for 25 euros, then I have no interest in it for 25 euros.
Speaker 2:No, I unfortunately don't. I mean not at all, Even though it can sound better because it's remastered or something it can actually sound better. But I know I'm a bit annoyingly stupid with the idea of having to have the original.
Speaker 1:But it's also that when I meet you, when you're out playing, I'm always lurking in your box because we're actually two of the same. You know you always have a wonderful Nigerian funk that costs a house rent and then you think, okay, that's fucking cool. I'm not there where I buy that type of record, but I understand the principle in it and I've really spent a buy that kind of records. But I understand the principle. I've really spent a lot of money on records. Just to give an example of how hopeless I am, I have two originals Arbe Dancing, queen American Promos. It's the same as the single version.
Speaker 2:Yes, and LP version 4, 26 or something.
Speaker 1:It's the same, but I have it On a landscape in the original. I gave it 1000 kroner and I played it twice.
Speaker 1:I know the number, and then I found it by chance to a dog and then I thought I should have it. But I'm a bit extreme. If we go in there I don't know how much time we have. But if you ask me what I like about music, I've always been completely crazy about the biggest, most played disco classics. I can imagine the biggest clichés and having them on maxi. It's always been a game for me and the one I'm really happy about the one is Spanish Hustle with Fatback Band, which is a bit more New York style, the original Maxi from 6-77, that's probably the one I'm most happy about. But I managed to find the original promo-maxi for Saturday Night Fever. Yes, and it was such a mythical record for me because we all know Saturday Night Fever.
Speaker 2:Yes.
Speaker 1:And I thought why the hell isn't there a maxi? And I had been looking for years. Why can't I find a Sting Alive that's extended?
Speaker 2:Yes.
Speaker 1:And then on record. In 1989, I was in for a song that would be extended, and then I was on the record label in 1989. I was in the Civil Defense and then I got home and I had a 50's record. I found two records. I found this promo for Saturday Night Fever for a 50's record, and then I found the JB's LP which Public Enemy just sampled to Rebel Without A Pause, and all that. And then I think that Bee Gees, I can find again the other one I buy and I couldn't. No, afterward I bought that JB's record five, six times. Yes, I never saw it again.
Speaker 1:No, so one day on eBay I have it for sale and it's in 2000. And it hasn't been for sale before, no, and I'm like, oh, it's that one and I buy it, and I buy 23 dollars, but I don't win it. No, and if you ever have a little afterplay and you haven't won it, then you know that fair of missing out to the end. I write to him and say to him if the winner doesn't want it, then I would like to buy it. Yes, and then he answers how many do you want? Okay, then I'm like, first I take the cap and then I just collect them together and then I'm going to gather them together and then I'm going to try to understand, and then I ask him what he means and then I say no, but he has a box of them.
Speaker 2:Okay.
Speaker 1:So I ask him about it. Then it turns out that he has been on a yard sale in the USA. He's American, yes, his name is Coinsight and he's been dealing with coins Okay. But he's been on a yard sale and then he's bought a box, a box with these promo markers. Oh how funny From a former RSO executive.
Speaker 2:Yes.
Speaker 1:RSO is the record company that produces Saturday Night Fever, and Bee Gees at that time?
Speaker 2:Yes, exactly.
Speaker 1:Anyway, I buy three of them and think I'm the coolest man in the world, and then at some point I can maybe sell one and get 700 kroner for it. And then I can maybe. I mean I have to have two Of all the records that are good, yes. And then I write to him and then I say Do you have more? And I do that a year later yes, I do. Then I buy ten more. Okay, but now he has to have A little more money.
Speaker 1:He can have 30 dollars for it. And then he gets that, and then people found out that it was there and I sold two of them. That was 20 years ago, and I sold two of them for 2,000 kroner each, and today I have nine of them.
Speaker 2:You have them found for sale.
Speaker 1:And that's a lot of fun. Every time I end a discussion with flat nerds. I know some of those people on the internet who have extreme collections, so it's like my trump card, it's my spare five.
Speaker 2:It's where we close it. All it comes in with that.
Speaker 1:It's because historically it's mega rare, and just so you understand, staying Alive is seven minutes long on that and the three minutes extra it's music that's cut out. There's a horn section and the like, and then it just has YouTube Dancing and Night Fever and More Than A Woman.
Speaker 2:And then it has.
Speaker 1:If I Can't have you, and three of them are extended and only exist there. They're then released on CD later, so I'll be with that. But if you're new, then that's it, that's where it's at.
Speaker 2:Fine finn taler sidst. Nu snakker vi lige om hvor hårdt det var her med Kim Schumacher, der dør I den sidste udsendelse. Vi er jo I 50'erne, du og jeg efterhånden. Nogen er faktisk lidt længere oppe I 50'erne for mit vedkommende. Hvad hedder det, når du nu en dag selv går bort and is going to be buried? Is there music for your funeral?
Speaker 1:Yes, have you thought about it? Yes, since we went to Kjeld's funeral, where Kenneth played, love is in the Air, I've thought about what?
Speaker 2:my debut song would be yes, and it shouldn't be.
Speaker 1:Love is in the Air in general, but some days I want it to be Herb Albert's Rise song. Yes, fantastic song, yes, fantastic song, yes. Otherwise it could also just be.
Speaker 2:It could also be that you should have mixed something together and cut a proper Laucate mix together, so we get a little longer.
Speaker 1:Yes, no, but it's such a and it's a thing that, again, it's that Throughout the years there've had songs that you get a new favorite. And what time is it today? Oh, now it's 12 o'clock. I have a favorite, I mean Peppe Braddock. Burnt is also one of my absolute favorite songs where I just think it's good to go out on. I mean I don't know, but if I had to be honest with myself, I would probably choose one of the numbers from Space LP, the first.
Speaker 1:Magic Five because there's a carry on turn me on which starts with this L piano. The vibe it gives will fit well. It sounds like it means a lot to you. Yes, I still have that record at home.
Speaker 2:I actually have it too.
Speaker 1:And, surprisingly enough, I've never bought another copy of it, despite the fact that I've seen it so many times. But I have it and I listened to it as late as last week on YouTube. Yes, because I have three technical headphones at home set up. Yes, and I haven't had them on for three years.
Speaker 2:No.
Speaker 1:And I can see I have bought half of them to two meters of records since then.
Speaker 2:Yes.
Speaker 1:So it's about being a free-match. Collector is still modern in a certain extent. Yes, that's it, but, as you say, for you it has been a tool. It has also been for me. Yes, that's right For 30 seconds. And then, like now I can remember yeah, yeah.
Speaker 2:And then there's also something in that when you have it it's not so interesting as when you're hunting for it. So that's what it's been for me. That period from when you finally find a record, get it paid and bought on the internet until it comes home is the most magical moment. You can't play until it comes, this record, and when you have it and you get it out for the first time, then you're not even sure you got it recorded I've been like that many times.
Speaker 1:It's just one big endorphin rose and then you sit there because you have something and then you're like phew, the next acquisition you need. And it's been a problem when I was out traveling with my girlfriend, because we're in London and I'm standing down at the Wheel of Vinyls and fortunately, she's understanding. She doesn't have any way of standing three hours in a record store, no matter where we are.
Speaker 2:That's her thing.
Speaker 1:She doesn't like that, yeah, but we were in Sister Ray and she used twice as much money as me, so it was like, okay, fair enough. But that's how it is.
Speaker 2:We made a new rule in the beginning. I've recently sat down in a business the first year we were together where she simply didn't like to sit with me after I'd been there for three hours. So we have that rule. When we're out like that, then she goes out and looks at something and then I go out breakfast and then we can have a good time. But that's because there's no reason for her to wait for me to listen to records.
Speaker 1:No, but it's also important to mention that we're both someone who likes new and new music, and to travel to her big city is a waste of time, because you come in a place where you don't know it and you're not driven by it. You can't stop it. You have to look at some kind of genre box and then you sit there and then there's some kind of cover where they just stand and scream to you listen to me. And then it's a process that is square.
Speaker 1:You have to do it. And then you're standing there and suddenly you look and there are 35 records. And then you look at the total and then you say, okay, I don't have the courage to, or it doesn't make sense to, just take the chance, because you also have to carry it home.
Speaker 2:Yes.
Speaker 1:And then you have to take this kill your darlings. I have 10, I only have room for 3.
Speaker 2:Yes, what do you think that's how I pack records? Thank you, fint. I would say thank you so much being here. Thank you, it's been a pleasure to hear a little about your story and to be able to explain the name is also great.
Speaker 1:That's so nice. And remember, dear listeners, go in and check the Kim Schumacher releases and get the soundtrack from your teenage years. I'm sure I didn't choose what you think you think was cool in 86. Thank you.