Musik mit drug
Dj Peter Visti inviterer gæster ind til en åben snak om kærligheden til musik og hvordan man bruger og nyder musikken i museo local podcasten.
musik mit drug.
Ny episode hver mandag kl 08.00
Musik mit drug
#29 Joakim Hediger
En åben snak med Dj & Radiovært Joakim Hediger om hans passion for musik
Welcome to Museo Lokal podcast and listen to music during my night sleep, something I still practice. Music is my passion. My drive, my mood and my daily life are formed and can be changed by music. Music has a unique ability to awaken feelings and connect people across cultures. My goal is to find out how different people experience love for music 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 Joachim Heliger. Jo, thank you very much. So here we are. Here we are. Here we are here we are. The technique works and I love youriger, jo tusen takk, skal du have.
Speaker 2:Så er vi der, nu er vi der, nu er vi der, nu er vi der. Teknikken fungerer, og jeg elsker din intro. Ja, takk, og du siger jo også I introen, at du stadigvæk ligger med hovedtelefoner på om natten.
Speaker 1:Det er så AirPods I dag men det gør jeg faktisk.
Speaker 2:I have it all night. Do you always do that?
Speaker 1:Yes, do you listen to music or podcasts? No, I always listen to music.
Speaker 2:Music yes, and there's no time limit. Maybe I want to say something to you.
Speaker 1:No, I haven't noticed that.
Speaker 2:And you don't get angry about that. No, you just listen to music 24-7, don't get mad over it.
Speaker 1:No, you just lie there and listen to 24-7. Yes, I have it in. I always have it in at night when I'm lying on the side, then I listen to it Impressive. Yes, okay, then I can wake up at 3-4 o'clock at night and play it out, if it's off, but as a rule I do it. I fall asleep to that instead of watching TV or something. Yeah, yeah, yeah, that's good enough, hold on.
Speaker 2:Yeah, but fantastic. I just wanted to hear if you were lying in the intro. I always lie All the time. Yeah, all the time.
Speaker 1:It's about 25 years since we met each other. Yeah, I actually think so. There was a party on the visit card, mm-hmm. Yeah, what's the story today?
Speaker 2:What's up today In my head? I don't really have a visit card anymore but in my head there's still a bit of party.
Speaker 1:You can still do that. Yes, I think so.
Speaker 2:At least on weekends, if I'm out playing, maybe not as much party as back then, I weekenderne, hvis jeg er ude at spille og sådan måske ikke helt lige så meget festfetter som dengang. Jeg tror du tænker på at på det tidspunkt arbejde jeg på UB og der var jeg jo sådan den der. Der var jo næsten 200 mennesker ansat I UB's storhedstid og jeg blev jo så ansat til at skulle være event manager what almost 200 people employed in Yubi's time of greatness. Yes, and I was employed to be an event manager and make a lot of crazy parties, both for the employees and until we made some Yubi-free films which today are called Sule, sommerbio and all kinds of things. And then we, just when we were writing something on the visit card, that it was the event manager, we all thought that yes, exactly.
Speaker 2:And then the chief said what should we do? And we said can't we just call it Festvetter? Yes, and then we felt a little that we were a little international. So on the other side, when you went around the visit card at, vi var lidt internationale. Så på den anden side, når man vent, hvis I kort om, skulle du stå på engelsk Det kan jeg faktisk ikke engang huske, Nej, og der stod Party Cossen, so ja, so what was it?
Speaker 1:Ja, Fantastisk. Ja, so jo, jeg var festfætter. Jeg ved ikke om jeg er lige, no, I don't know but it was a bit too funny, Because I can only remember the short part that I thought was fucking awesome.
Speaker 2:Yeah, I think so too. I also got a t-shirt with a fistfitter on it Really?
Speaker 1:Yeah, yeah, of course, but, joachim, you have a long career as a radio host, dj. Yeah, when did all this music start? I saw a picture today yeah, I have this thing with looking at people when I'm about to talk to them. I saw a picture today where you are I don't know how old you are, but not very old when you're standing next to an institution with some cassette tapes in front of you.
Speaker 2:It's me and my mother's living room In a white dress with a big silk belt or something. Yes, now it's painted in black and white, but it was gold, a bright gold belt. Yes, already then I had a hang to some little old clothes.
Speaker 1:That looks very impressive I don't do that. Yes, so you started early with being interested in music.
Speaker 2:Yes, you have to say that.
Speaker 1:I would say it like this when I was 7 years old, I was 67. When I was 7 years old, I got my first what can you say real record. When I say real?
Speaker 2:record. It was because before it was the animals in the Hackebakke forest, the Ardus and Baktus, and what else?
Speaker 1:Bøllebob and Kai Andrea, as we've all had. I think Bøllebob actually existed.
Speaker 2:I don't think it did. No, it didn't. But Kai Andrea was a very big role model for me. But then I can remember in 1974, there came a record called Sweet Fanny Adams. Yes, and I want to say it like this, it was an open bar for me. Yes, it was there where both Kaus and Baktus and Kaj and Andrea they were running. Yes, and from there it all started for me. Almost my mother was completely crazy about Beatles. So I think almost before I had listened to BAPS for the first time from my mother I had already heard the Beatles song, but I didn't really notice it that way.
Speaker 2:But the real beat music it was was Sweet Fanny Adams, which still stands for me. It was eye-opener. And it wasn't even two years after in 1976, that I went to my first concert, which was Sweet, in Bonnbyhallen. Wow, yes, I was nine years old that time, so I think it was like that that the music was so serious. I got an eye opener for that there was something else than Caruso Bartholomew and Carl Andre.
Speaker 1:Yes, that's it. That's fantastic and you get interested in music for real there. You've been there for seven or eight years are we talking about've been doing it for 7-8 years, almost 10 years, but I've also read that you're already in school. You play for the others with a bond and such. Yes, yes, yes it's very early that you start to entertain. Can you say?
Speaker 2:Yes, because there were class parties. Some people were supposed to play some music. Yes, Because back then there was no Spotify or anything.
Speaker 1:No, no, no.
Speaker 2:So you had some vinyl records with you under your arm or, even better, some cassette tapes. Yes, exactly. And I became very quick, like the one, I think already from third or fourth grade, that it was like me who had the cassette tapes and vinyl records. So it was like me who had the records with me and then, instead of running around and drinking green soda water and playing kissing with the girls or something, then I stood over at the facility, which was not so crowded, but then I was there and was playing music and I had a pretty good time with that. So once in a while, of course, you could just put a long song on and then just run around and play kissing parties and then back and back.
Speaker 1:Yes, exactly, there should have been room for that. Yes, there should have been room for Rundalej Køslej. Og så tilbage, jo, Og tilbage, ja, det skulle da være plads til.
Speaker 2:Ja, ja, det skulle da være plads, det skulle da være plads til ikke Så, nej, det var ligesom fra starten mig, der ligesom var den I folkeskolen med det der med musikken, fordi de andre det gik de. And again, some people had to play that music.
Speaker 1:Yes, I remember it in the same way. In our class there were also a few people who agreed that it should be us, Because we were the ones who were most interested.
Speaker 2:Yes, exactly, and it was just that it wasn't because, well then, you have to do this. No, it was because it was one's hobby. You really got into it and it was great to say hey. I remember I came with an LP with Suzy Quadrow and said now I'm going to hear this when the boys in the class were more impressed with how nice she was on the cover In that nice leather set. But I think that many of them in my class where I introduced them to music and so on, I can remember again Sweet with Sweet Fanny Adams. There's a song called an unpleasant number actually, because at one point there are some clock strikes in this.
Speaker 2:And we were all fucking scared. Yes, that's it. You know, even though the sun was shining through the windows, it was still insanely unpleasant and we could never understand, because normally the clock would or these church clocks ring 12 times, but actually on this plate it's 16 times and we never really could figure out why. No, but, yes, it went a lot up. Yes, fantastic.
Speaker 1:It was probably four times four-fourths of what it should fit.
Speaker 2:Yes, it's highly likely, Without having to explain the mystique. No, no, but it was very unpleasant and today it's still a bit unpleasant.
Speaker 1:And it's a bit sick when you take such things with you. But it was very unpleasant and today it's still a bit unpleasant and it's a bit crazy when you take some of those things with you. You can hear something right. I can remember I had it with Walkers.
Speaker 2:They had one called Fire, do you?
Speaker 1:remember that, yes, yes, which was also about Dracula that went out in a Not in a forest, but in a cave or on a cave, insanely unpleasant as a bigger boy playing it than me when.
Speaker 2:I heard it.
Speaker 1:Yeah, it's a bit dangerous, and when I hear it today, it's not really dangerous.
Speaker 2:No, I still have a little. People have lost me here. A few days ago I played Into the Night and I could feel again. When these clocks come, I'm knocked back to 1974-1975, where I'm at home with Finn who's holding a class party, and I can just feel my hair rise again. It's still good, but it's really, and that's also why this program is about. As you also say in the intro, here you're rushing. That's what music can do. You're pouring back to that summer night, Friday June 21, 1974, where you're standing with your lemonade water Exactly, and listening to this. It's completely insane what it can do.
Speaker 1:It can pull everything. It gives some thoughts and some. The outcome is completely wild, based on the music, at least for my knowledge. I can hardly remember what I did yesterday, at least for my knowledge.
Speaker 2:I can hardly remember what I did yesterday, but I can promise you that I can remember. When I hear that clock sound from Sweet, then I can remember what I did that evening in 1984.
Speaker 1:That's insane, yes, but that's it. But that's what music does Precisely. And how do you get on, joachim? Joachim, because you go to school, are there gymnasium things too?
Speaker 2:No, Do you go to school? Yes, I find out very quickly that the thing with school. I love the free quarters, but that's also what I love about school.
Speaker 1:Yes, so it is.
Speaker 2:And I find out that at a certain point you have a choice. The fact that you can actually go out of 9th grade. You don't need to go to 10th grade with us. It's that you can actually go out of 9th grade. You don't need to go to 10th grade with us. You can actually choose to go out of 9th grade and think I think I'll choose that one. That's a good idea. But I was actually also so lucky that already in 8th grade you had to go into some kind of business practice or something, and there I came into business practice.
Speaker 2:My mother was a photographer and I had always been interested in photographing, so I came to this business practice. I mean it's 14 days you have to be there.
Speaker 1:Yes, it's now or 14 days, yes, exactly.
Speaker 2:Out on something called Avis Centralen, which was located near Herlev Hospital, which was, instead of photograp place where they also photographed a lot of the hospital out there, and I thought it was really exciting. So I was actually allowed to go to the private school that I was looking at and stay there for a week more. So I was there for three weeks and you were, as I said, in the eighth grade, and the head of this AV-central out there says that when I'm done with 9th grade and then you have to have a basic year on EFG something graphic then he would guarantee me a place to study as a photographer outside of them. So I already knew from the middle of 8th grade what I was supposed to do after 9th grade. I knew from the middle of 8th grade what I had to do after 9th grade. So there was nothing about me having to knock 10th grade or some high school or HF or I had to go to the military. I had no time for that because I knew exactly what I had to do.
Speaker 2:But then it was like this that around 9th grade I mean the music is there all the time, and then I met a guy called Søren who lives up in Allerød and he just has the wildest discos. Back then the high-tech was big. Yes, totally, they were very big and they were worth a lot. It wasn't just about that. So he had record players and a mixer and record players and such things, so a whole mobile record company, a total mobile record company.
Speaker 2:So we find out because I have the records, he has the layout that we have to make this mobile discotheque together. So we find out that we have to, and our mobile discotheque is called Virgin machines. So we're going to go to someone called Alan Delin who had Alan's Roadshow and stuff like that. He had a shop in the Åbo-Livarden where you could play everything. So bombs, smoke, confetti machines, light.
Speaker 1:It's not like he's still making lasers today, is it? I think, it is Like he's using the club actually. Oh okay, how fun he's makes laser things. Yeah, yeah, I can imagine what it was. I think so, and we used all that money, it wasn't that much money we got before we got out to play.
Speaker 2:Can you remember what you got, I think, for an evening like that? I think we got 1,500 kroner together.
Speaker 1:Wow, that's a lot. Yes, how at at we tilsammen fik 1500 kroner. Wow, that's a lot.
Speaker 2:Yeah, how long are we back there there? Are we back in? Oh yeah, that's a good question. There we are back around 85 or something. Yeah, okay, I think. Yeah, we used at least 1200 kroner on lights and bombs and disco balls and smoke machines and so on, but it was completely equal. We didn't make any money on this. The last 200-300 kroner. We always drove down to a grill called Holdekrillen that was open until 5 in the morning.
Speaker 2:We always drove down and used the last money after one kick to get two left with four bread or something. But you didn't do this for money's sake. It was simply passion, and it was completely insane when people came and and not many hours you have spent on it.
Speaker 1:Stand up and sleep, and not many hours you've spent on it right. Yes, getting up and sleeping, yes, but it was that with that?
Speaker 2:if you were to play from, let's say, 19 to 24, then you already came around at 16 o'clock and started with the stage and set up and go on until you were ready, until 19 o'clock. When you were done at 24, then you were probably out of the door two hours later, or something.
Speaker 2:It was a hard work day, but you didn't think about it because you were completely high on that Just to be allowed to stand and play some music, for some other people To say, listen to this. For me it wasn't enough. If I was down in the local Knud Riedel or Fone or whatever they were called at that time these record companies and bought a record that I really loved and then just played it for myself at home. I was forced to make it live over for other people.
Speaker 2:It's just this drum beat or this mix or something. There was nothing better than to stand over for several hundred people and play this song, that's fantastic as it is today. Yeah, yeah, it's the same.
Speaker 1:It's the same feeling, exactly, and you play, maybe more than you've ever done, I don't know, but you still play a lot, I play a lot.
Speaker 2:I play a lot, and I've done that for 40 years now. Sometimes I get myself in the arm that people still book me and listen to me. Then it's weddings, 50-60 years birthday, then it's company parties, then it's Christmas parties. It's all kinds of different things. I'm super grateful for that. I still have so much to play, because I still have just as much passion for just that oh, try to hear this.
Speaker 2:Or is it just cool, or something which I had for 40 years ago and I have it, just cool, or something which I had, yes, for 40 years ago.
Speaker 1:It's insane right.
Speaker 2:And I have it with me, because sometimes, when people say to me well, do you want more or why are you doing that? And things like that. I have it like this that the day the first time I'm out and playing something where it's like running on the back of the car or oh yeah, okay, it's just another day at the office or something.
Speaker 1:The day.
Speaker 2:I'm running on the routine or just relaxing, you know. Oh yeah, okay, it's just take the money or something. Then I stop, because you're never better than the last job you had, I agree. And if you, that day, the passion is no longer there to stand and deliver music to other people, yeah, Then I stop. Yeah, I mean that day, but it's crazy enough.
Speaker 1:you have such a big passion. I can't, for example, play a brother or something like that anymore. I play just one for a while in the afternoon, just for drinks and stuff, but I can't anymore. I've simply gotten myself dug into so much music and what I'm interested in. I can't sit down and say that I think there's music that's better than what they want to hear. Can you follow me on that? I can follow you on that.
Speaker 1:I have a hard time abstaining from it, and I understand that it's not what you want to hear at a wedding, and that's why I always say you have to book another one, because it's not like I'm going to ruin your party.
Speaker 2:But you know there are some who are much better at it than I am today, so I'm completely in line with those things.
Speaker 1:I understand what you mean and just like you when I sit here and look around in your flat.
Speaker 2:Yes, now we're recording in my flat. It's like coming into a self-subsidized business. I can hardly imagine being in the coolest place in my life than just sitting and looking at vinyl records. There are millions, I was almost about to say there are a few. It's fantastic, and you have always been quite a nerd about finding new music, a bit like Kjell Tolstrup, for example. You could stand at a nightclub and suddenly hear a song you've never heard before, a kind of Cuban, a kind of hula, hula, polka, something. But the way things flowed, how the songs were put together, it just made so much sense that it was these songs and all that, and so did you. Nummerne var sat sammen. Så gav det bare så meget mening med at. Det var de her numre og alt det der. Og sådan er du jo også.
Speaker 1:Ja, det er jo blevet. Jeg har jo vært super mainstream også I min tid. Der er slet ikke noget der.
Speaker 2:Nej, men det der med at du kraver ned nu og siger prøv at høre, nu skal I høre det her. Og det forstår jeg, and I understand that very well. And you say I don't care, I have it there sometimes. If I'm going to, what should I say? Play September Mournful, for example, which I know works, and I still think it's a great song. And of course there's a time when I press the play button and think, okay, we'll take it again, but then see the joy for people on the dance floor make me not think, because I'm not too good to play anything else. Of course there are some numbers that I must say that you don't like, but just some of those numbers where you think, okay, is it still going yes.
Speaker 2:And it does, it does. And if people hire me for a private event then it's not worth it. I haven't done it like, try this. I know better than you Now, I've been a DJ for so many years. You can't decide what I play, or you can't ask for numbers because I've checked than you Now, I've been DJing for so many years. You can't decide what I play. Or you can't ask for numbers because I've checked the shit. No, I haven't checked the shit. I know some things that work, but if you want to hear a number for your wedding, then I'm not there to say no, no, no, you don't have to. I've always said uh, no, no, no, no, no you don't have to, that's not possible.
Speaker 2:I've always when.
Speaker 1:I've played a wedding. I've said say now the numbers that you love so we can get them mixed in with us. And then I think, if you have a list with 10 numbers or 20 numbers or whatever, Both to that and to some boating Festivals and such, and you do an insanely good job, You're still really passionate. Where I think Shit man. I'm sure I'll be playing Earth, Wind, Fire With such enthusiasm. Still I want to be insane. So it's very impressive and it makes you very professional, Doesn't it?
Speaker 2:Yes, maybe I'm being professional, but I think it's just as I said before if I don't feel it, I can't let it be to stand still, and then you can call me a blather, or I can't let it be not to dance to my own music.
Speaker 1:No, I have it best when I do not to dance to my own music. No, I have it best when I do.
Speaker 2:Are you insane if I have my phone in my pocket and I look at the steps after one job where I think are you insane to go back to Italy and come back again?
Speaker 1:It's insane how many steps.
Speaker 2:I can't stand still. I'm grabbed by the atmosphere. I just go up in it. It's my passion. And again I just get up in it. I mean, it's my passion. And again, if I didn't feel it, if I just stood there like a rock or something okay, well, that's just another job or something then I would stop Because I get myself rid of the mood. Of course there are some times if you're sitting at home on the sofa on a Saturday night at 22, and you know you can first drive for half an hour and I have to get up at 12.30, or whatever it is. There can be times when I'm at home and say, oh, I really wanted to lie on this sofa. The second I press that play button, baff, then I drive, then I drive. Then there's just, I'm completely in the zone and it's not something that I can build myself into. No, that I am. I can.
Speaker 1:It's burning. It's also shining through when you play in the Eurovision. It's shining through. You can see that you enjoy it. Yes.
Speaker 2:I do. I think that's fantastic to see, because it's not something that a sour DJ would want no, or someone who tries to look happy, but you can feel that he or she doesn't really want to be there.
Speaker 1:It's just waiting for some money to go into a office, but the car doesn't hold up.
Speaker 2:Yes, exactly.
Speaker 1:Almost.
Speaker 2:So no, I'm inspired by the fact that the only thing that means anything to me when I'm a great player is that it's Dansegul sand for Dyme. There just has to be a part of it. I'm going with it which fortunately 7-9-13 is always there, then I can't stand and think it would be better to just put it on the sofa. I'm inspired by it.
Speaker 1:Awesome man.
Speaker 2:And then it's great when there's a new song that you just know. I can remember a year ago when Can't Stop the Feeling, with Justin Timberlake, for example. There you just knew this song is almost it could even be an evergreen. This one just comes to fill the floor almost year after year.
Speaker 2:There are some numbers that just you know that you oh and, and so I actually have it with Tobias Rahim and Andreas Hodbjerg with Stormann. I have it with that number right. Yes, I think it's the biggest Danish hit after Coming Back Now with the Danish Orchestra. Wow, that's how I feel about it. That number, I think is just as big a hit at 30 years old as Coming Back Now with the Danish Orchestra there, like coming back now with the dance orchestra. There is something with this number here. I know I'm looking forward to it every time there are some numbers you have it with.
Speaker 1:Just wait, oh it's going to be now.
Speaker 2:You know just the intro to it. It's just great. It's fantastic. There are lots of numbers.
Speaker 1:Yes, it's there, but it's just. It's fantastic, jorgen, you've also made TV.
Speaker 2:Yes, I've actually made quite a lot.
Speaker 1:And as I can remember, what I remember best of it is probably what's called Manda Manda. Yes yes, I did, when you first interviewed a lot but also made your own record, which was a crazy fun project.
Speaker 2:Yes, it was a long-term project. It was because Manda Manda started in 1993. Started in 1993. Yes, and before that we've done Hallo Hallo and we've done Dæksel and some music programs on TV2. Yes, and then, and that's.
Speaker 1:Philip Lundsgaard, and that's Dan Ragnhild, and that's what's his name.
Speaker 2:Yes, philip isn't in there. Hallo. Hallo is Lotte Larsen and Jesper Kiesel. That's it. Yes, and I'm in the editing together with Dan Ragnhild, and then in Dæksel, it's Dan Ragnhild and Jesper Kiesum who are there, and where I'm the man out in the market who's doing something, but the man who's there. Well, now I'm going to see Camilla Sax-Bostrup, henriette Honoré me, but now I'm going to see Camilla Sax-Bostrup, henriette Honoré me and Dan Rackling, who are worth it. It's like a whole evening, actually, I think it starts at 20 and ends at 23.30, where it's first the magazine with things and stories, and then it goes more over to the music department. And at this point because I've been making TV for many years, at this point, where I've form, instead of saying now you just came with a new record?
Speaker 2:when are you coming with the next record? When are you going on tour where it's like?
Speaker 2:I'm just standing there and then it's like I'm coming up with the idea that I want to do what's called the hunt for a record contract, where I have a little kited figure that wants to make a record, where those I interview should be able to give me some tips on how I get further in this whole record industry, because at some point they've been there themselves. Of course there should also be some relevant questions to them about themselves. It's not because it's about me, but it was the angle of entry. Yes, yes, it was often from week to week that the record company called and said now we have this artist in town, or now there are some Danes who have just come with something new and want to interview them, and stuff like that. So there was not such a storyboard at all.
Speaker 1:It was from week to week what was going on or what was happening.
Speaker 2:I can remember in episode two or something I was made a record company because I talked, say, episode two or something, I get to make a cover because then I talk to some art directors and photographers who have made the cool covers for many of the Danes. So it was also like that. You talked about cover, covers and stuff like that. So in episode two I get to make a cover and as the speaker I say now I just need to pop into the cover. Speaker and says now I just need to pop into the cover. And then it happened that I got caught in right there where Sound of Seduction started and Zap, zap and all kinds of and Cutfather and all those things.
Speaker 1:Yes, exactly.
Speaker 2:So it ends up with that Cutfather and Soul Shock and all those things are for real. Yes, exactly. So it ends up with that Codfather and Soul Shock and Chief One get together and make some beats and produce this, where I get Jens Haag from Moon Jam and I get Eran from Remy writes the text and what's it called, writes the text and what is it called, and then the whole sound seduction sings and all that Because I can't do anything. The only thing I can do is go in and do I mean, it's totally Kajsens new joy, this. The only thing I can do is go in the studio and say Good God, and that's like my contribution to this record.
Speaker 1:Now it annoys me a little that I haven't found it, because I know I have it. Do you have it? It's here between those when you look at the 80's. Oh, are you kidding me? It's a clenodium it's huge.
Speaker 2:It must almost be one of the most important records you have in your collection.
Speaker 1:It's also incredible that I don't know where it is.
Speaker 2:That's it, and it makes me. There you go. We'll find it when we're done. And the crazy thing is, because I didn't think at any point that this was going to end with something that was given away.
Speaker 1:No, no, because it's insanely hard to get a record contract. That time I had no ambitions about that.
Speaker 2:It was just an excuse to talk to all these different artists and have a different angle, which many artists thought was pretty funny, that they suddenly had to give me some fiff about some things, which clothes I should wear, or oh, this is hard, but if you put this glasses on, it can be they were just on the line. You could say Fantastic. Suddenly, I think there are five or six record companies calling and saying we would like to see this record.
Speaker 2:They say, excuse me, there are no records. This is actually before we are in the studio and start doing this. They say there are no records.
Speaker 1:Then you have to make a record.
Speaker 2:You know it's them who are calling me and it's completely insane. I said what the hell? I can't do anything. But there it is and it gets very, very ambitious. This Because, at this point in time, it's the case that Godfather and Soul Shock move to Los Angeles.
Speaker 2:Yes, and start getting hot shots there, and so Chief One sits here at home and has to clip some of all this together to send this it's the time when it's called one-tom-bond. He has to send it over to Codfather Soul Shock, who then has to mix this, and it takes this around.
Speaker 2:I would say Because it's not from maybe 8-10 tracks or something, it ends up being 56 tracks. So they sit there and get this one-tombone I don't know how that works, but where they then lay it out where they have to play a larger studio.
Speaker 1:And it can be on the whole mix.
Speaker 2:Yes, completely, and it was play a bigger studio and it can be on all the mixers. Yes, completely, and it was just a crazy project. I've never earned a crown on it, it was just fun, and I can remember there were always some in the music industry who got pissed.
Speaker 1:Yes, that happens.
Speaker 2:Yes, you know, just because he makes a TV show, he can make a record. Blev pissed, ja, og så fungerer det jo. Ja, ja, altså, du ved, bare fordi han laver fjernsyn, så kan han lave en plade. Hallo, det var en gimmick. Det var ikke fordi, at jeg blev en eller anden rockstjerne, nej, nej, nej, der var nogen de var skidesure over det der. Ja, ja, det er fint, men faktisk var det egentlig bare and another form of it was a genial An interview form and then, it's just funny, it ended with a record called I've Good God, what it Takes Green.
Speaker 2:Yes, it was green. Yes, yes, yes, I'll have to find it.
Speaker 1:I'll have to find it.
Speaker 2:And there are all kinds of different remixes on it. There's a Monday mix on 7.5 Minutes. It's a whole. It started all over again. Yes, there is a Monday mix on 7.5 minutes.
Speaker 1:It was great. It started all day Fantastic. Yes, and you have interviewed an insane number of people. Who was the biggest you interviewed? What was the biggest experience for you?
Speaker 2:If there is no doubt, it was Prince in 2011 in Paris. It was like a meeting with God.
Speaker 1:It wasn't a secret that you're a big Prince fan.
Speaker 2:I've always called myself the world's biggest Prince fan. It's completely insane. I think if he had been busting through the entire LP, I would have thought it was the most brilliant record I've ever heard in my life. What's it called?
Speaker 2:I love Prince, and I've done that a long time ago, a long time ago. I heard it on Radio Luxembourg in 1979, I wanna be your lover. Wow, there, I thought there's something here that I've never heard in my life before. Yeah, and then I started to nurture Prince, and when I say nurture, it's really nurture. I imagine that I know pretty much everything about the man, more than he himself might have done. And then it was that in 2011, he was supposed to play two concerts on T-Rex out on Amager, where he was supposed to do something called NPG Music Festival which he had never done in any other place in the world before, where Shaka Khan and all kinds of different things were supposed to be played, and he ended up both Saturday and Sunday, so a month before where he was supposed to start his tour in Paris. I was asked by Kim Voresø, who was the one who arranged concerts for Prince all over the world.
Speaker 2:In the end it became more or less all over the world. He called me and said you know what I want to hear from you. Do you want to go to Paris next week and interview Prince? And I, of course, said no and I agreed. I couldn't dream about that. I think I had a wilder feeling in my body when he called and asked me about it than him or her who just won 57 million in Euro Lotto. Yes, it wasn't bigger, was it? No, it couldn't get any bigger. But I didn't know when, in the week after I was going down, you just had to be standby. So I had already packed my little travel suitcase, of course, with one of my Prince outfits and everything and all those things there. And then I was mostly awake that week and just waiting for them to call down from Paris the record company or something, or ICO or whatever it was, and say well, now it was. And then it was, I think, tuesday at 3 o'clock and the phone rang.
Speaker 1:Wow.
Speaker 2:That Prince was ready for an interview the next day at I don't know 15 o'clock or something, so they had ordered a flight ticket for me at 7 o'clock in the morning and I thought I'll just take a few hours to sleep before I go up. No, you can't. No, you couldn't.
Speaker 1:No, you couldn't.
Speaker 2:I tried and it was completely insane. Yes, and I come in. Do you want to hear the story?
Speaker 1:Yes, I'd love to hear the story. I don't know the story.
Speaker 2:No, I come in the airport and I have to fly with Air France down there. I come in and check in at 7 o'clock and and then find out that the plane is not lit but sunk because the plane that was supposed to be flown at 5 in the morning was still out on the runway and was not taken off yet. So it would be early at 15, that the next plane went and I knew I was supposed to interview Prince at 15 in.
Speaker 1:Paris.
Speaker 2:And I stood there and thought this is simply a lie. It can't be true that the man or the person in the whole world I would most like to meet can't do it because of a flying machine that doesn't fly.
Speaker 1:No, how terrible.
Speaker 2:And there was a second that I was so scared and say I don't know what to do, I can't get out when they say, okay, find someone else who flies to Paris, because it just has to be done. And I think that's just what it should be, and it should be this or what?
Speaker 2:Yeah yeah, that's what it is. Yeah, yeah, I mean, prince is not someone who's thrown around like an interviewer. No exactly, so what's it called? No exactly, so what is it called when he asks okay, so there's Audienz, so it's there, so he just has to be there.
Speaker 1:So it's not like you say can we do it tomorrow? No, no exactly.
Speaker 2:It was just before. I was considering how long it would take in a taxi to Paris, but I thought I can't do that either. No, but then I found another plane that flew, but it landed in Hamburg and from Hamburg I had to go to Paris. It was insanely stressful, at the same time as I was. I don't know if I was nervous about meeting him, but I was so excited I was exploding. So I could first land in Paris at 15 o'clock, just as much as I did. Then I landed in Paris at 15 o'clock, sweating and all that. I can't manage to get up in my Prince outfit in the hotel, so I run into the toilet in the airport in Paris and stand there on a small toilet and dress up in what I'm about to wear.
Speaker 2:Not that it's something with. See, look at me. Ha ha, I look like Prince.
Speaker 1:No, but that's not how it is.
Speaker 2:It was really stylish clothes, yes, and then comes out there once again big-faced and can't get a taxi. I mean it was completely wrong. But then, fortunately, they call Frisio there and says, well, try, this Prince is self-sufficient, so no stress. It's 5 o'clock, wow. So I get right in there at the hotel, yes. And then I get in there and it was there, he was. Yes, there he was.
Speaker 2:I have met him many times before because I have been up on stage where he has pulled me up on stage seven times. Really, yes to concert halls, but I have seen him I don't know, at least 70 times or something to concerts around the world, where I have often been pulled up on stage. When he pulls people up on stage, yes, but it's not just from thereit-chatting with them. There, you just stand and dance and give it some gas and stuff. But meeting them, giving them a hand and sitting and talking, was completely insane. And the first thing he says to me is you're the most well-dressed journalist I've ever met. That's the first thing he says to me. So you know, it was all that weather and standing on that little toilet in Paris' airport and what's it called?
Speaker 2:So it was absolutely fantastic to interview and I had actually thought about flying home the same day where he played a concert. The next day when they say Kim Voresø, don't you want to stay and see the concert? The next day when I completely stupidly say you, donoresø, do you not want to stay and watch the concert? The next day when I'm completely dumb and say you don't have any tickets?
Speaker 1:No, now it's like us arranging it so it's not that it can be done in any way.
Speaker 2:So you know it was with backstage court and all the good stuff.
Speaker 1:Wow.
Speaker 2:It was completely wild. And to the after show the next day, where I at I'm talking for 20 minutes with Prince and where he's just talking. It was, it was. It was very friendly. So I have yes, I have met really, really, really many, but if there has to be one, so I would say it is. So it was like being to audience. You outshined him. Yes, well, hold on oh you checked it?
Speaker 1:Yes, hold on.
Speaker 2:When he did his One Night Alone tour, he played first in Aalborg Hall and the next day in the Falconia Theatre, and at the time he was called the NPD Music Club, yes, where you could, if you were a member of that, buy an extra ticket so you could come to his soundcheck in the afternoon To the soundcheck.
Speaker 1:To the soundcheck yes.
Speaker 2:And in Aalborg I think we were not much more than 25 people to this soundcheck and I come completely in a hurry from top to toe and sit there on the first row and what's it called. He comes in and it's pretty relaxed. We're sitting, as I said, around 20 people and he is just sitting there talking to people and doing some sound tests and stuff. And then he looks over at me and says you're not coming on stage this evening. And I say, well, I'd rather not, I'd rather not. And he says, well, try this, you, I would like that. He said try to make me shine completely if you come up on that stage. Okay, that was very funny, you know. Afterwards it's just a sound test. We're standing in the bar before we go to the right concert. I say try to get him up on stage.
Speaker 1:Of course he does that.
Speaker 2:I say no, he doesn't.
Speaker 1:And then the concert runs full speed. No, he doesn't no-transcript.
Speaker 2:So he pulls me up on stage and the day after we're in the Falconier Theater. Wow, Super cool, Super, super super cool.
Speaker 1:He's the only man I've emigrated from to a concert, just to put it on the table.
Speaker 2:May I say thank you so much for today. Why in the world did you win?
Speaker 1:I'm not sure I know if I want to hear this. No, it's actually a A guy they are in. Is it Kobe Hall he plays in, or something.
Speaker 2:No, he's never played in Kobe Hall Forum, could it be? I don't know. Is it?
Speaker 1:Forum. He plays with Chaka Khan and Graham Central Station. Yes, that's in Valbehalen. It's in Valbehalen, yes.
Speaker 2:In 98, at the Hire Tour.
Speaker 1:Yes, I took a bus from Silkeborg all the way over here at 9 in the morning, where they're drinking all day long, yes, and Graham Central Station, or what's it called?
Speaker 2:Yes, I just made a it. Yeah, larry Graham, larry.
Speaker 1:Graham plays first. Yeah, a whole concert, I think, actually Half an hour. Yeah, it's a long one, yeah, yeah. Then Jacques Arcand plays yeah, and it's also a long concert, also half an hour, I think and he comes in and sings with him on the second verse with him, and then he throws it again, and then he goes again, yeah, and then she continues, and it's simply too much for me. You're not saying you go before Prince goes on yes, so I go.
Speaker 1:So I've never seen them sing another verse on I Feel For you no, so I go from the concert and go out in a taxi, where Broen just came, and take a taxi home to Selkeborg.
Speaker 2:That's a lie. That's true. What does a taxi cost to Selkeborg at that point?
Speaker 1:I think 3500,. I think the taxi driver was allowed to make it for, you're not telling me. I'm sorry to say that.
Speaker 2:That you're going to that concert, because it was awesome. It was a great concert. When Prince finally got on, I think he got on around 23 o'clock. That's it. I've been on for 15 hours at that time.
Speaker 1:I'm both full and tired. You really want to go home.
Speaker 2:Then sit down and relax a little until he gets on. You're not going home before Prince gets on.
Speaker 1:I just got to see him sing that second verse on Feel For you.
Speaker 2:And me, who really, really liked you. Yeah, are you aware of what you've missed? I'm really sad about it now.
Speaker 1:Yeah, it's something I've thought I'd left, so that means you've never seen a A concert with Prince.
Speaker 2:And that is a mistake, because that is Showman number one. He wasn't able To be on that stage, and I mean it doesn't matter which instrument he took, it was just the best in the world.
Speaker 1:It was completely insane, but I would have liked to have seen it Because I was a huge fan too, and now it's too late. I'm a huge fan.
Speaker 2:You haven't been a huge fan Enough. If you walk before he arrives. You know he's coming. You know it's absolutely insane You're going.
Speaker 1:They took five hours in that stupid bus, yes, and then taxing home, and then taxing home. It was completely. It's not. It's not that good, no, I don't think so.
Speaker 2:No, but okay, yes, but yes.
Speaker 1:It's okay. It was the only concert I think I've ever been to it was simply for a long time? Does he play an after-party afterwards? Does he take part in something else?
Speaker 2:Yes, he did, I think he did. Because I found out.
Speaker 1:That was the only thing we talked about at the concert.
Speaker 2:He played at Vega and then he went to play at 3 in the morning. It happened often when he was at Vega and he went there at 3 in the morning. It happened often when he was there Either at Vega or Amager Bio, and it was always. I can remember where he played those two concerts in 2011,. At 10 o'clock on Saturday and Sunday. On Friday he plays Amager Bio, which is also played at 5 in the morning. Then he plays on Saturday, then there's no afterparty on Saturday, but on Sunday he plays full concert again and then goes to Jammer Biu and plays at 5-6 in the morning. That's what he could do. It was insane.
Speaker 1:I also thought I went to Joachim. It's even worse that we we talk about it now.
Speaker 2:That's good, you must also have bad conscience. You must really be honest.
Speaker 1:I don't die with bad conscience.
Speaker 2:No, but just when it comes to this, you go for a prince concert, then I promise you, you will die Big time. Well, that's good, that's good Say sorry, yes, sorry.
Speaker 1:I don't normally use it, but I'll just do it. That's good, that's okay then.
Speaker 2:Well, that doesn't mean we should be that way down. No, not at all.
Speaker 1:But now I think I have to tell you yes. What does he mean today Does he still mean as much to you.
Speaker 2:Yes, he does, because I think he was yes. Now we have to say the day time. He was well, now we have to say the time of the day, or that's what we have to say now the Mozart of the day when he, as a 19-year-old, releases his first album. He plays 27 instruments on that album. He's 19 years old and he writes everything himself, produces, does everything. He has a background that is so insane.
Speaker 1:It's quite unique the fact that he both writes everything, plays everything, produces everything. When we think about today, where there are 12 people to write two lines on a cake. Yes, not that there's anything wrong with that, but it just says a little about talent. There's no doubt about that. Well, that's it.
Speaker 2:I mean for me I can't. I mean it's completely insane. Yes, again, I could see it more when he said so many hits so little time and he was Because he never played all his hits. Then he ran a sample set at a time when he just marked maybe just the drum beat to Alphabet Street or when Doves Cry or something further to the list. He was so over the top in hits. Yes, you have to say that.
Speaker 1:And bad hits. In a way, it's not ordinary. Pop hits yeah, you have to say that and scabies hits it's not ordinary pop music in any way.
Speaker 2:No, there are some scabies in between which are just pure Prince. I can only remember the first time I put a double album with Sign of the Times on, where the opening song is Sign of the Times. Just the sound when you put the pickup down and then it starts. Sign of the Times, just the sound when you put the pickup down and then it starts. It's like in the Times. It's like what Then we're on.
Speaker 1:This is one of those that are big and big. That's what.
Speaker 2:I'm saying Absolutely Fantastic, now it turned into a Prince podcast, it's because I knew he had lifted it up on his side.
Speaker 1:I knew that he had said you have to tell him and you're not coming up. I was down there and I'm glad we went that way. Yeah because, but I was pretty sure you were going to say that it was him that was the best you had interviewed. Well, that's it.
Speaker 2:Because it is. If there is someone you can say that I'm a fan of, then it's him. Of course, there are a lot of big ones that you've met where it's also wow, did I meet them? For example, kiss? For example, when I'm sitting with Gene Simmons and Paul Stanley, which I was a fan of from the late 70s, it was also huge, huge, huge, huge, huge, huge, huge. But yes, if you're going to mention one, then Then it's there.
Speaker 1:Yes, it is. And you have a child yourself? Yes, I do. Do you play music?
Speaker 2:Yes, or maybe he plays me. He's just turned 10. And it's really cool to experience he is well. He can't be. I don't know if I should say that, but he is obviously already on that TikTok. Yes, and he plays. He sometimes plays some songs for me, which are also old songs cool 70s funk number or 80's number or something, for example.
Speaker 1:where can you get this from? Well, tiktok, they're their MTV. Yes, as I said, that was one that was said to me once, so they're their MTV.
Speaker 2:So he's right, yes, but it's simply so cool because then he finds also, because he can really like rap and hip-hop and stuff like that, but all of a sudden he's playing Kate Bush with Running Up that Hill that was because she was in Stranger Things. But what's cool is that there are also some songs where I say, hey, how cool is it that you I think Material Girl with Madonna and stuff like that, where it's just cool, man, let's Groove with Earth, Wind, Fire and stuff like that, where he makes his own playlist, where we drive a lot almost every day, we listen to music all the time and then he gets permission. He's completely Karl Blanks, he's the one who controls the music in the car.
Speaker 2:And then he sits there with his Spotify lists and plays music and he can do the lyrics on the whole. I can't remember the lyrics on anything, but that's because I never listen to lyrics. I, I listen to music all the time. I do that myself. I just sit there, boom, boom, boom. In a cool way and it's just so cool. It would be great if it was just some kind of innovative rap or something and it was the only thing I heard or something like this.
Speaker 1:Or something? Not at all, it's just so mixed, it's cool.
Speaker 2:It's super cool, it's super or something like or something at all. It's just so mixed, it's super cool, it's super cool. So right now you're going to listen to Lost Del Rio with Margarina and all the other stuff.
Speaker 1:It's super cool.
Speaker 2:It's super cool and inspiring absolutely, so he's very broad in his music taste.
Speaker 1:That's cool.
Speaker 2:I like that and we hear and you do that too yes, yes, and it's great that yes a lot, and it's great that you can inspire your son to realize that there's not just that mad rap or avant-garde jazz or dance-hop or something You've been guiding people all your life by enjoying music, right, and I remember I wrote to you once during corona I love you, CD-er.
Speaker 1:I lang tid op til før du gik over til stekket ikke. Men så fandt du pludselig dine vinylplader sammen eller frem igen, fordi du ikke rigtig. Vi havde jo ikke rigtig noget at give os til nogen af oss og begyndte at spille live om aften på Facebook og fortælle om pladerne Og jeg har jo slået det op på Chromecast nede på Fj universities down there in the evening.
Speaker 2:I think it was completely fantastic. The funny thing was that, as you say, during Corona everything was closed down. You didn't have any job because you had to be at that time. Six gathered and I couldn't go out and hire a DJ?
Speaker 1:No, it was the worst.
Speaker 2:It was completely catastrophic. You knew every time Mette Frederiksen had been on the television and said about restrictions and all that you knew that the phone would ring, the SMS would log in mails with announcements of jobs. It was completely catastrophic. And you sat at home and sat. You hardly had to go down to the candy store and buy a dummy no, exactly. So I was at home and thought what the hell, am I going to?
Speaker 2:do. And then I started to go and look at my old vinyl records and found my old SL-12 110 record player and such things and then I sat and some music and I thought I've never tried that to press that Facebook Live button. No.
Speaker 1:I've never tried that.
Speaker 2:And then I thought, well, I could do that. I could try that, because then I just sat and played some records and talked about hey, try to hear this groove, isn't it cool. Or I sat and played maybe some records where I had some anecdotes about some of them.
Speaker 2:I had met or something, and it was something I thought actually the year wasn't over and I put my record player on the table and then I sat down on the hook with some records and then I pressed live, and then I sat for an hour or so and then I could see that there were more and more. When I did that, there were so many people who were following me.
Speaker 1:We didn't have anything to give us.
Speaker 2:No, no, and they were commenting and such and suddenly I could see that there were maybe 2,000 people who had been watching this and I thought it was just a little time-consuming for myself, but suddenly it went a little sporty. I thought, God, it's really something that people think is interesting.
Speaker 1:It was super interesting.
Speaker 2:And many times I only played 30 seconds of a number, because I also noticed that if Facebook started to recognize the songs too quickly, then they just shut one down Because you can't do that.
Speaker 2:So it was such small snapshots of than anything else, where I was talking a lot, and I did that for a really, really long time, I think for a year and a half, and the crazy thing was when I met people I'd say, hey, we saw that or hey, was that fun? Or something like that. Wow, that's wild fantastic. It was fun Because I never really thought, thought about it other than now I'm just trying this, and then I've tried it a few times.
Speaker 2:The problem is just that Facebook has become more ups on these things, so before you almost have to play the first two tones of a number, boom, then they close. But it's impossible to do that more if you do it on Facebook. So now I've actually tried a few times in the last year's time to do it what I call live-live, where I've been out some places and done it live, where I have projects with, because I talk a lot about record cases that amaze me, or funny record covers, where I show them on big screens and big players records, and it's pretty cool because there you get a reaction with the same if you say something completely wrong or people are laughing at a record cover or some anecdote I have about something. So my plan is actually to do a little more out of it with going around and performing on it, whether it's cafes or something.
Speaker 1:You should be on a heartland, you should be on some Scannerborg. On those scenes they have those things. That could be fantastic. That's right they have those things, Because I'm fantastic. That's right they have those things.
Speaker 2:I'm not thinking right now that I'm filling Royal Arena, but that's not it, not yet. But I just think it's funny Because, again, the fact that I'm passionate about it and have so many insane stories to tell about one thing or another, as I said, I have so many anecdotes or record covers I wonder about, or numbers I think are cool. I say I'll try to introduce this record here. How cool is that? For example, when you from 1979, put I Am on Earth, where it starts with In the Stone, is there an opening number that's cooler than that? No, fra 1979 sætter I Am pladen på Mødermønnen, fra hvor den starter med In the Stone, er der et åbningsnummer nærmest fædre end det. Nej, jo, så skulle det lige være. Nightfly to Venus med Boney M yeah, you know, sådan nogle ting snakker jeg om.
Speaker 2:Det er sådan noget, du ved, eller nogle ting, der undrer mig, eller når man ser pladekoffer til or something that amazes me, or when you see record covers, for I think it's fucking fun.
Speaker 1:I think it's a fucking good thing Because it's wildly entertaining. Wildly entertaining, and even though I'm a nerd about records, I also found some records when you play it and thought, oh, I should never have thought of that, so I thought it was super interesting.
Speaker 2:I can remember at one point you said to me I had forgotten that, Elmer, why not me?
Speaker 1:Precisely, and you know what. I started playing it and there were actually a lot of people in Copenhagen who started it.
Speaker 2:Don't you think it's great? It's absolutely fantastic. And you just forgot it, and it was super electronic, super, super electronic.
Speaker 1:But it was because you played it that I started playing it. No, not at all. It was cool. I that was cool. I had the record back then With a yellow poster where it said Promotion Only.
Speaker 2:It was nice, it was big stuff.
Speaker 1:So you have to get on with it.
Speaker 2:I will, at least on a different media than Facebook, because they are good enough. No, they don't give anything more. But I would rather go out and do it live. It's cool to get like it anymore.
Speaker 1:No, but I'd rather go out and do it live. Yes, that's the best thing to do.
Speaker 2:People's reactions. I think Exactly, yes, yes, exactly, and sometimes I say okay, then I'll do it like two times, three quarters. Many times it becomes two times an hour because I come all the time, because a lot of it is improvised. I don't want to have something that just that, that just drives with and says good, now I start here and end here. It should be like when I made it on Facebook where it's completely god, this cover, let's see here, fantastic, we should make a party at the venue.
Speaker 1:Yes, we should. It could be nice, I think so cool man, it would be great, we should have done that of course to last. I have asked everyone about this, about the fact that we're leaving and the funeral. Not everyone knows about the different ceremonies, but there's one form of funeral and I always ask is there music for Joachim Hedegard's funeral?
Speaker 2:Yes, there is, I can almost figure out what to play.
Speaker 1:No.
Speaker 2:I don't know. I can figure out which artist to play, I think it should be Ulla Pia with Schlapperdubadelle, and that was exactly what I was thinking. No, what's it called? There should be. Sometimes it Snows in April with.
Speaker 1:Le Prince.
Speaker 2:Wow, yes.
Speaker 1:That makes good sense. Yes, that should be it.
Speaker 2:Yes, Fantastic Joachim. Yes, thank you so much for being here and thank you so much for having me. I'm very happy, it's a great pleasure.
Speaker 1:Thank you for listening to this week's Museo Lokal podcast, Music my drug. I hope you have enjoyed the music's fascinating universe and found inspiration for your own musical journey. If you'd like to listen to today's guest's list of songs, you can find the list on Museo Lokal's Spotify list on Spotify. Thank you. Have we waked your desire to hear good music and good life in the real world? You can find Museo Lokal right under Natklubben Museum in Lille Kongensgade in Indre København.