Building a killer vibe with the messiah of DJs

Publication title: Edmonton Journal
Pages: C1 / FRONT
Publication date: Apr 1, 2000
Dateline: Edmonton
Section: Entertainment
ProQuest document ID: 252725293
Copyright: Copyright Southam Publications Inc. Apr 1, 2000
Author: Sandra Sperounes, Journal Music Writer


Abstract:

[Paul Oakenfold]'s talent also extends to producing records and remixing songs. He produced The Happy Mondays Pills 'n' Thrills and Bellyaches (1990) and reworked U2's Even Better Than The Real Thing and Moby's Natural Blues, to name a few. Oakenfold has also turned down hundreds of artists, including Guns 'N' Roses. "(Axl's) vocals have no soul and it's very difficult to make it work on the dance floor," says Oakenfold.

Oakenfold never expected to be a revolutionary, let alone an explorer. Before he became king of the decks, Oakenfold was a chef, a hip hop journalist, and a publicist. Then again, he never expected dance music to continue into the 21st century.

Oakenfold also finds refuge listening to "healing music." Say what? "It has no drums, it's ambient," he explains. "It's very relaxing." Translation: Oakenfold digs new age music. (Hey, he is nearing 40.)

Full text:
Concert Preview: Ascension 2000
Star: Paul Oakenfold
Date and time: Tonight, 9 p.m. to 7 a.m.
Location: Northlands Sportex
Tickets: Almost sold out -- Only 100 will be available at the door for more info, log on to www.defstar.com

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Even God needs a massage therapist.

Just ask Paul Oakenfold, the messiah of DJs and rave culture.

The 37-year-old British DJ may spin uplifting electronic music -- or trance and techno for those in the know -- but it's back- breaking work.

After hunching over his turntables for a few hours, Oakenfold's back muscles tend to scrunch up into tight, little knots.

"I usually need a massage on my shoulders," he says over the phone from Miami, still groggy from a late-night gig.

These days, Oakenfold needs a lot of backrubs. In addition to his weekly appearances at a five-story club in London, he's invited to play in every corner of the world. Indeed, Oakenfold's schedule would make the U.S. Secretary of State blush with envy -- he's booked three months in advance and commands more than $25,000 for two hours.

Not only does Oakenfold perform at raves, he's in demand with fashionistas and Hollywood -- a true sign of his stardom. Last Sunday, for example, he manned the decks at Vanity Fair's post- Oscar party.

"I do a few of those parties back home -- fashion and record company parties," says Oakenfold. "It's a completely different approach, really.

"They're not really interested in listening to up-front music, it's more about creating a good vibe. So I play Bob Marley to hip hop to old disco. It's good fun -- I like doing them, I really do. There's no pressure."

What makes Oakenfold so great?

For starters, he has a knack for picking future dance hits.

More importantly, he knows when to play the right records and build a vibe. Oakenfold also likes to take his audience on a musical journey -- by playing an eclectic set of songs.

"I usually travel with about five hours of music, and usually play between three or four hours. I have certain records that go down really well and records that bridge the gap and take you from trance to tech house to techno, so I constantly move it around," Oakenfold explains.

"Otherwise, it's boring. You never know what the crowd wants, so you can't come in with a prepared set."

Oakenfold's talent also extends to producing records and remixing songs. He produced The Happy Mondays Pills 'n' Thrills and Bellyaches (1990) and reworked U2's Even Better Than The Real Thing and Moby's Natural Blues, to name a few. Oakenfold has also turned down hundreds of artists, including Guns 'N' Roses. "(Axl's) vocals have no soul and it's very difficult to make it work on the dance floor," says Oakenfold.

His criteria for selecting songs is simple.

"If I really like it and I can do something to it. It's really important for me to be able to make it work on the dance floor. If I can't, then I wouldn't do it. I'll only do it if I'm really into it," he says. Obviously, I could make a lot more money, but it's not about that."

For Oakenfold, it's all about exploring music. In a sense, he's a contemporary Sir Walter Raleigh -- discovering new sounds in different countries and exporting them around the world.

Such was the case in 1987, when Oakenfold was blown away by the DJs on the Spanish island of Ibiza. He then brought their rock/ disco/dance sound to the U.K., where he unintentionally launched the acid house movement.

Eight years later, he did it again. After visiting the Indian island of Goa, he introduced Britain -- and eventually the world -- to spaced-out electronica, or trance music.

But Oakenfold never expected to be a revolutionary, let alone an explorer. Before he became king of the decks, Oakenfold was a chef, a hip hop journalist, and a publicist. Then again, he never expected dance music to continue into the 21st century.

"When it originally started, it was seen as a trend and I never, ever realized that it would become as big as this. I think it's great. In Europe, it's become youth culture. Club culture is youth culture. It's just getting bigger," he says.

"Now I find I'm being invited to DJ in some strange places. Last year we went to Havana, Vietnam, Bombay, China .. places where you'd think dance music isn't really going on. But there are small pockets of people running clubs and they're inviting other DJs."

Oakenfold attributes the world-wide dance explosion to our increasingly fast-paced and expensive world. After a week of slaving away at school or work, people flocks to clubs and raves as a means to escape.

How does a DJ find his release? In restaraurants, cinemas and theatres. (Oakenfold's latest fave: The staged version of The Lion King."It's amazing! The costumes and the lighting were incredible!")

Oakenfold also finds refuge listening to "healing music." Say what? "It has no drums, it's ambient," he explains. "It's very relaxing." Translation: Oakenfold digs new age music. (Hey, he is nearing 40.)

From time to time, Oakenfold even works on creating his own music. He's wanted to release his own album of original music for years, but he never seems to be able to finish it. So far, he's completed six tracks and hopes to release it sometime next year.

"It's just difficult," he laughs.

"When you're working on someone else's record and the record company says you've got a week to do it, I can get my head around that because of the pressure of doing it. But when you're doing your own record, there's no deadline so you go into the studio, make a track, leave it ... then come back in a few months and say, `That ain't right.' So you keep going back to it."

Oakenfold would also like to do more Internet broadcasts, featuring audio and visuals from the clubs he visits. He knows cyberspace will never replace live raves, but he hopes to use the Internet as an educational and promotional tool.

"What it does is it gives people globally a chance to see what's going on in Edmonton in the clubs, what the kids are wearing, how they dance, what music you're playing. It's just an opportunity to play to more people," says Oakenfold.

"And if I can kind of help the scene become bigger, it's good for all of us."

Illustration

Colour Photo: Journal Stock / Britain's Paul Oakenfold can always use a good backrub ;