Giordano Foglia interview

[Crockett]

Giordano Foglia interview by Marcin Szulc

On Facebook this interview is now available in very pleasant graphical form in my group https://www.facebook.com/groups/54520434951/ Aleph (Manzi - Bellini) / Flea / A.Beat-C. Italo-Eurobeat

You can find it also in group https://www.facebook.com/groups/397296027136442/ Newfield-Moroni-Sinclaire, dedicated later labels, where Giordano Foglia works until now.

MS: Buongiorno Giordano Foglia. First I would like to say you are for me an special artist, after I discovered your story in our private conversations. It was very nice surprised history. Thank you, that you agreed for this small interview. Tell me something about your private life, when you were born, where are you from? What is your passion, music or anything else? How do you spend a free time?

GF: Hi Marcin. I was born on 25 April 1969 in Mantua. My passion is music, only music. I have not free time, my work is music and is my passion.


MS: I am curious, who is your musical idol from your youth?

GF: My musical idols are The Beatles for their melody, Pink Floyd for their psychedelic music, The Queen for their energy and The Dream Theater for harmonic structure .

MS: About your beginning of production we talked a few times. You were engaged very early at work as producer and really successful before Italo Disco totally disappeared and before rather all current fans got to know about Giordano Foglia. Just look at the I Venti D’Azzurro dance charts from the period 1989 – 1991. Could you remind how did you start your first experiences with Aleph team?

GF: I started to work with Aleph team in 1987, because I played in a band and our studio was in front of Aleph Studio. Giancarlo Pasquini asked me to work with him. I began to work in the world of music because I had to pay my study in the academy of music, where I studied piano, flute, bassoon and film music. I was not a member of Aleph but a composer who collaborated with Giancarlo Pasquini. Keep in mind at that time I studied it the conservatory and I had not much time. At that time I was not in SIAE and unfortunately the things went in this way.


MS: What were you doing in the period of the years from 1991 to 1993, before you officially appeared in A.Beat-C.?

GF: I worked from 1987 to 1994 with Aleph team and A.Beat-C. From 1995 to 2007 I worked with Delta. From 2001 to 2003 I worked in the studio of Newfield. In 2008 I started to work with SinclaireStyle and now I am still working with them. I have a contract exclusively licensed to write the songs with Bratt Sinclaire for Avex Trax. You do not see me earlier because I registered myself in SIAE in 1994/1995. Are many my songs as arranger and composer, I wrote you some titles, but I do not remember all the titles of them. My future project is "Metropolis Project" but now I can not speak about it, which aims to test in the field of music for films, it will start in 2016/2017.

MS: Was it a specified reason, that you left A.Beat-C.? Did you want to try something else, meet new artists and cooperate with another team? Someone invited you to Delta ?

GF: I left A.Beat-C. because I knew Andrea Leonardi and Laurent Gelmetti and I tried to work with another team. In this team I had more opportunity to express my creativity.

MS: Could you tell something about your work in Delta and SinclaireStyle? Just anything, positive, even negative. What do like there, whether cooperation goes always easy? Do you always find an new idea with other members, Bratt, Laurent, Clara together, or each one is thinking and then you connect your ideas?

GF: I always worked on my songs in my studio. In Delta as the group I think I composed, arranged about 150 songs. Bratt and Laurent had 2 different ways to mix. The relationships have always been good between us. I love the rhythm and melody, and in both cases I like very fast or more slowly. For the style I think I have one of my own, do you not agree with me? Certainly write with Bratt it is more interesting and in fact we still work together. Clara about my songs has only written the lyrics, not the music.


MS: You mentioned me once, that you returned to the current Rodgers Studio in 2007.

GF: In 2007 I worked for a short period in Rodgers Studio because Giancarlo Pasquini asked me to work with them again. My songs of that period are six, seven. I do not remember the titles. When I collaborated last time in Rodgers Studio, Luigi Raimondi still was there. I do not know anything more about Luigi since 2008. That was a very sad period because my father died.

MS: At the end would you like to send a message to all Eurobeat fans?

GF: To all fans of Eurobeat I would like to say, that when this kind of music started I started too. I gave my contribution, even if you do not find immediately my signature. I have always worked hard in my studio composing for days. Thanks to Dave Rodgers when I started but thanks to Bratt Sinclaire, they are what they are now. Today I think Eurobeat is lacking in melodic line. Years ago the songs were more beautiful and less anonymous. If you want to keep alive the genre, you have to work on the lines of melody.

[jeurobeat]

Great job! I like his songs. It is really nice to read this interview. Thank you.

[drnrg]

What an amazing interview. It is always specical surprise to find out and get to know more in depth about our favorite music producers. AbeatC, Delta, and now Sinclaire Style. What an exciting portfolio to work with those amazing producers.

Some of the songs that come to mind with his name are the great ones for Nando Bonini to sing. The first is "Money Money"

[Crockett]

This interview is that, what we can call italian friendly opening for all people. I wonder, who else of Eurobeat artists would agree for such talk, help today, and I have serious doubts. After this interview I changed my mind and I think, that single likes, comments on Facebook by artists shouldn't be considered as so big proofs of friendly treatment, because nothing won't replace pleasant private conversation or even a little moment spent for each person. The real communication between fans and artists sometimes looks horrible, but making such interview raises a hope...