House legend Paul Oakenfold dreams of beginning the American dance revolution

July 29th 2013 When Marcy met house legend Paul Oakenfold
In 2013 Marcy Goed Wild had a long talk with the British house legend Paul Oakenfold. In this feature interview they spoke about the future of dance in Europe and the US.

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This post is also available in: Nederlands (Dutch)

House legend Paul Oakenfold dreams of beginning the American dance revolution

‘Deep house is the next big thing’

Paul Oakenfold in 2013

 

 

In 2013 Marcy Goes Wild had a long talk with the British house legend Paul Oakenfold.

 

Paul Oakenfold (49) is a man of few words. At least, that’s what I expected on the basis of my research, when I had the opportunity to speak with him in Amsterdam. The contrary appears to be true: Paul is kind and accessible, still as passionate as ever and diligently on the look for new musical challenges. That challenge is situated mainly in the United States, where the Brit by origin has been living for years. “Electronic dance music in the US is still in its primary stage. Mainstream reigns supreme, only after that the deepening follows.”

To break the ice, I confront this pioneer of the dance scene with a few dilemmas. Europe or America? Resolute Oakenfold starts: “When it comes to music, I always chose Europe. Europeans are more open to new music, they are more creative and more cutting edge. Besides that, Europe has much better radio stations!”

“I miss my record store visits”

With a father who was a musician, Paul grew up surrounded by several music genres. He was mostly interested in bands. After discovering the underground scene and playing there – at so-called illegal M25 raves in London – he soon started working as a producer with well-known bands like The Cure, Culture Beat, the Red Hot Chili Peppers and U2. His love for Run DMC and Public Enemy stems from those days as well. He became one of my personal heroes with his sublime remix of ‘Unfinished Sympathy’ van Massive Attack. Confronted with my admiration, his eyes start glowing of pleasure. This brings us to the next dilemma: vinyl or digital? Without any hesitation: “Vinyl! Vinyl has a warm sound; the cracks just add to the experience.” Mesmerizing: “I miss my record store visits. The anticipation while waiting in the back of the store until you could listen to a track. By the way, the world’s best record store is situated in Amsterdam. Which one? Well, of course I will keep that pearl to myself. Fact is that you can find the most extraordinary tracks in that store. One day I was biking through Amsterdam and found a bootleg of a show that I did with Madonna at this shop. Some guy from Naples (It) had recorded the show and pressed it on vinyl. And I walked right into it. Unbelievable. In the end I handed it to Madonna as a present.”

Oldskool records

Later during our conversation once more in his incomparable style Paul illustrates his never-ending love for oldskool records. “When I moved from London to Los Angeles I put all my vinyl’s neatly in boxes, labeled them and collected all the information on a list. When I was ready to unload the boxes, I searched for the piece of paper with the list. I’m sure you already guessed: the note was lost. Well, what to do? Nothing left, but unpacking those records one by one and rearranging them from the start. I never got further than the third box of 250 (!). Every time again, I pulled out another track that I forgot I even had, and wanted to hear it. And another, and another…”

Audience with T-shirt Oakenfold

“I miss the soul”

These days, on tour Paul rarely plays with vinyl anymore. “I truly respect Sven Väth. He’s been playing with vinyl for thirty years. Travel wise, I personally think it’s very relaxed to work with USB-sticks. Saves a lot of lifting. The down-side of digital is that thousands of tracks are released every day. The quest for new music feels clinical. I miss the soul.” This underlines immediately how this founder of dance music defines the difference between the dance generation of today and ‘the hippies of the nineties’. “The present generation wants it all now, instantly. It has nothing do to with music.” But don’t get him wrong! Paul does not long back to past times. He embraces change, it keeps him alive. With a big smile: “I only still talk about those days with my mates in the pub. We all laugh our asses off about the time when I fell of a stage of something silly like that.”

Paul can’t choose between producing and DJing. “They’re both very special. I do love going into the studio to start working with a blanc canvas and come out totally excited with the sense: ‘This is it! Now we created a diamond’. That moment, that feeling, is indescribable.”

Dream

On August 9th Paul’s double-CD ‘We Are Planet Perfecto, Vol. 3 – Vegas To Ibiza’ is released on his own label Perfecto Records. Which of the two disks does he prefer? “I don’t have a preference. I do have a strong opinion about the difference between the two: it’s the tempo. Together the disks constitute a journey. I start out with a sound that’s popular in The States – they’re only beginning with house music now – and I finish on CD2 with a sound that is more appreciated in Europe.” He’s anxious to get to work in the US and lift house to the next level. His dream is to find a band or act like the Chemical Brothers, Underworld, Prodigy or Fat Boy Slim, that will build a bridge between dance and other genres. “I haven’t seen that in America yet. Nor has a huge American DJ arisen, I still haven’t met an Armin van Buuren there.” Besides this, Oakenfold has a clear view on the future of house short-term: “Deep house is the next big thing.”

Paul Oakenfold behind the spinning wheels

Chef

The whole year ‘round, Paul is traveling the world, except for January and February, when he’s always at home in the City of Angels. There, his interests focus right now on listening to movie-soundtracks. Also, he’s spending a lot of time in the studio. On top of this, he doesn’t organize any pool parties but likes to gather likeminded spirits around him in so-called think-tanks. Does he, who’s an haute cuisine chef, cook for his guests on those occasions? “No, I hire catering during these events.” Paul is rather covert about his private life. “I’m on the road most of the time and already share such a huge part of my personal life, that I need my home to be alone and unwind.” He doesn’t mind revealing what he would do if tomorrow the world would come to an end. “Of course, I would spend that remaining time with my family and friends.” With a boyish grin: “And I will probably get hammered.”

Paul Oakenfold doesn’t mind a good party. This becomes clear when he jokingly tells how he stays fit, seen as he will be fifty in August and his existence does not involve a nine-to-five job. With a broad smile: “I just drink a lot of beer.” Continuing on a serious and passionate tone: “I take a lot of vitamins. Especially vitamin D, everybody needs to take that. With vitamins you can add years to your life. The same goes for sleeping. Sleep provides time for your body to recuperate. DJing is hard work. Luckily, I know how far I can go. I know what my ‘cutoff point’ is. And although I never sleep well on a plane, I always try to catch some z’s for a few hours.”

Stoned

“One of the first times in The Netherlands, in the early nineties, Paul was the opener for the band Primal Scream in pop temple Paradiso in Amsterdam. He decided to go for a bike ride before the show and – how surprising – make a pitstop at a coffeeshop. “I took two hits of a joint and was stoned off my ass. So, when I continued my bike ride, I got completely lost. I didn’t even remember the name of the hotel where I was staying. Finally, I found the hotel, where I took a nap before my gig that night. It was pretty clear that the band members of Primal Scream had not done that. They were stoned out of their mind. I still can’t grasp how they were able to do that concert.” Thinking of Amsterdam, warm feelings bubble up. “I’ve had some amazing moments in that city.”

Grammy

Oakenfold’s three nominations for the American Grammy Awards were a huge boost. The nominations were for his Creamfield compilation in 2004, his artist album ‘A Lively Mind’ in 2007 and once more in 2009 for his producing work for Madonna. “I truly respect the Grammy’s. They recognize electronic dance music. The Brits can learn a lot from this!” Outraged: “Great-Britain is the cradle of house music, yet there’s no official recognition for the genre. Reggae, ska, indie… yes. But on the terrain of dance music there’s now respect for their own people. What I like about The Netherlands so much, is that you love your DJs. You treat them well. In England this is totally missing.”

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