Code: Select all
You’re worked with Vangelis and Jean Michel Jarre – that’s rare, isn’t it?
“You normally have to choose your camp! I started with Jarre, the Concerts in China, 60,000 people in 1981. We developed the first polyphonic sequencer, the MDB with eight CVs and gates. I made Zoolook with him – and I played keyboards and programmed the Fairlight sequences. It was an amazing experience for me and certainly the last great album he made.
“Then I had a phone call from the guy at Dreyfus Records, he said, ‘You kill my artist! This album is a piece of shit. No hits…’ And I said, ‘Sorry, I think we’ve made a really interesting album’.
“Finally Zoolook had some success, then Jean Michel called me for the next album, and he came up with Rendez-vous and I said sorry, I am not [a] fan, you can do that without me! And I decided with friends to create Studio MEGA in Paris.
“The next time I saw Jarre was for the 1990 show for La Defense, and I re-did all the intros, all the sequences. Two and a half million people in Paris, what an experience!”