| When I was fifteen, sixteen, when I really started to play guitar
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| I definitely wanted to become a musician
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| It was almost impossible because—it was—the dream was so big
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| That I didn’t see any chance because
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| I was living in a little town; |
| was studying
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| And when I finally broke away from school and became a musician
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| I thought, «Well, now I may have a little bit of a chance»
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| Because all I really wanted to do is music
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| And not only play music, but compose music
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| At that time, in Germany, in '69, '70, they had already discotheques
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| So, I would take my car, would go to a discotheque
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| Sing maybe thirty minutes
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| I think I had about seven, eight songs
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| I would partially sleep in the car
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| Because I didn’t want to drive home and that helped me for about
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| Almost two years to survive in the beginning
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| I wanted to do an album with the sounds of the '50s
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| The sounds of the '60s, of the '70s
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| And then have a sound of the future
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| And I said, «Wait a second, I know the synthesizer
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| Why don’t I use the synthesizer which is the sound of the future?»
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| And I didn’t have any idea what to do
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| But I knew I needed a click, so we put a click on the 24-track
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| Which then was synced to the Moog Modular
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| I knew that could be a sound of the future
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| But I didn’t realize how much the impact would be
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| My name is Giovanni Giorgio
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| But everybody calls me Giorgio
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| Once you free your mind about a concept of
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| Harmony and of music being «correct»
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| You can do whatever you want
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| So, nobody told me what to do
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| And there was no preconception of what to do |