Paul Oakenfold – Interview

Paul Oakenfold has been crowned with the prestigious title of world’s most successful dj and for bringing dance music to the forefront cross the global but what many do not know is that his musical roots run deeper than just dance music. At the early age of 16 Paul began soaking up the nightlife culture and practicing his art of mixing by playing bars and small clubs with good friend, Trevor Fung around England. After a brief stint with Arista Records in New York, Paul moved back to England during the early 80’s as a club promoter and worked as an overseas agent for rap acts the Beastie Boys and Run-D.M.C. In the late 80’s Oakenfold was running the hottest club nights around with his name attached to successful events such as Future at the Sound Shaft and Land of Oz at Heaven. Slowly but surely Oakenfold was changing how the youth culture were spending their weekend. Clubbing had become a way of life.

Just as the 80’s were ending Oakenfold’s career was taking off in a whole new direction as he and his production partner Steve Osborne were asked to produce the new record for UK rock act Happy Mondays. The result was one of the UK biggest and most influential albums of all time Thrills, Pills, and Bellyaches (1990) that helped open more doors for Oakenfold and Osborne. As U2 was putting the final touches on Achtung Baby, the band called upon Mr. Oakenfold to remix songs “Even Better Than the Real Thing” and “Mysterious Ways” to help the band bridge the gap between dance and rock. Surprisingly, Oakenfold’s version of “Even Better Than the Real Thing” topped the original rock version in the UK charts. Over the years Oakenfold and the band have developed a friendship that has carried out into a number of tour dates for Oakenfold opening on the bill in support of U2.

After producing countless remixes and pleasing people in arenas and clubs around the global for years, Paul now sets out to please music lovers at home with his debut artist album Bunkka. Not built like your traditional dance album, Oakenfold digs into his musical roots and sprouts an eleven song album that pushes the boundaries of modern dance. After nearly two years of piecing and crafting the album Oakenfold is finally comfortable and proud to be to have something he can call this own. He recently took a few moments out of his busy schedule to chat about what makes up Bunkka.

How long was Bunkka in the works?

The album was in the works for nearly two years.

How did you find the time to balance your dj and production schedule? It must have been pretty intense.

I stopped and I started at points with the album that’s why it took a period of time to complete (it). I would work a few months on the album then take some time off to listen to it and think it through then go back to work on it.

Where does the title Bunkka come from?

Bunkka is a name of a recording studio spelled in the traditional way. It was a studio I was using for the first six months of the album.

Where is Bunkka located?

It is located at Real World studios in Bath (England). The name stuck because I really did not want to tell anyone what I was doing because I really did not want any press.

When I first heard the title I thought it meant like a collection or hodgepodge of music because the album fuses different elements from hip-hop, rock, pop and dance. Is Bunkka the sound track to your musical tastes?

(Laughing from the Bunkka reference) That’s a good one! Why didn’t I think of that? I wanted the album to represent what I have been inspired by over the years and what I have been doing for years. I worked in hip-hop, I worked in rock and I wanted the record to have that. In America the last few years people only know me as progressive music, but what people do not know is that I have worked at Def Jam, (I’ve) worked with Run-DMC, signed Jazzy Jeff and the Fresh Prince, supported U2 on tour. Different styles have always been my character. In my opinion Bunkka is still a melodic dance record. It’s definitely not a club record but if you want the club mixes they are on 12″ singles so you get the best of both worlds.

I think the album says a lot about clubbers tastes.

That’s the thing is that people underestimate clubbers because they do not listen to just club music. They listen to all kind of good music. Therefore, that is where this record sits.

On Bunkka you rounded up an interesting cast that included the likes of Perry Farrell, Ice Cube, and Nelly Furtado, how did you pull them together and how did you arrange studio time?

I met up with a lot of them actually in LA so they could come to the studio and work with me. The track with Ice Cube (“Get’em Up”) was not done together in the studio because at the time I was England and he was in LA, but all the other tracks were recorded with the artists.

Author, Hunter S. Thompson even collaborated on a track (“Nixon’s Spirit”) with you. Are you a fan of his works? If so, which is your favorite?

Fear and Loathing In America. I like the book because it’s all short journals and he documents what he’s been doing over time.

Have you ever read Hell’s Angels?

No.

Same gonzo journalism but I think it one of his best works. He uncovers the unknown history that is the Hell Angels. You should pick that up to help kill time during your travels.

Thanks! I’ll do that.

Another track that stands out on its own is “Motion”. Is the song a throw back to the old Happy Monday days or were you going for something completely different?

I came across Grant Lee and I really liked his tone and sound. He’s kind more of a country rock vocalist and I really was aiming for something edgy and break beaty with him.

Now that you are going to be releasing a song for radio as an artist rather than a dj, what is your approach to American radio? What will the first single be?

The first single will be “Ready Set Go”. I really do not pay attention to American radio but I do watch a lot of MTV when I’m here.

Where does the artist album rank among your list of achievements?

I would have to say in the top because it has complete make the record.

When you tour for the record will you be performing live or be doing a DJ set? Will you bring some of the artists on Perfecto?

I have not really decided what to do with the tour yet. When I get back to England that’s when we’ll sit down and work out. Right now it’s a bit early to say.

As far as dance culture goes, is the whole world still 2 or 3 step ahead of America?

No. I think America is catching up fast and now it’s more of a level playing ground.

Thoughts on American clubs?

They are some really great clubs in America like Space (Miami), Buzz (D.C.), Giant (L.A.) and Centro-Fly in New York and the list is getting bigger and better.

What audience is tougher to please: rock or dance?

Rock crowds can be so different from night to night.

Ever had to deal with any boisterous rock crowds throwing bottles or being unruly?

(Laughs) No, touch wood. I’ve been lucky.

Throughout your career you have an incredible sense of timing and unique savvy for the music business, is it hard to avoid mixing business with pleasure?

I know what I know since I toured with U2. You have to be professional and responsible when people are paying money to come see you. I cannot afford to be out all night and miss my plane to the next show and let people down. That’s just embarrassing and everybody should be professional. Times have changed from when I first got in the business.

I know that you receive hundreds of records a week, what is the record collection count up to? Ever thought of hiring a librarian?

(Laughs through the sentence) Many of times I have. And you know I can never find the one I need!

What is your system?

You have to have some sort of order. I file my under years and not under labels because now there are so many people and labels it’s hard to remember all of them. It’s not really about the names of artists in dance these days but constant flow of good music throughout the years.

What is the key to your success?

People, being original, playing to the crowd.

+sarzyniak