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When I was fifteen, sixteen, when I really started to play guitar, I definitely wanted to become a musician.
It was almost impossible because it was— The dream was so big that I didn't see any chance because I was living in a little town, was studying.
And when I finally broke away from school and became musician, I thought, "Well, now, I may have a little bit of a chance." Because all I really wanted to do is music and not only play music but compose music.
At that time, in Germany, in '69, '70, they had already discotheques. So, I would take my car, would go to a discotheque, sing maybe thirty minutes.I think I had about 7-8 songs.
I would partially sleep in the car because I didn't want to drive home and that helped me for about—almost two years to survive, in the beginning,
I wanted to do an album with the sounds of the '50s, the sounds of the '60s, of the '70s, and then have a sound of the future. And I said, "Wait a second. I know the synthesizer. Why don't I use the synthesizer which is the sound of the future?"
And I didn't have any idea what to do but I knew I needed a click. So, we put a click on the 24-track which then was synced to the Moog modular. I knew that it could be a sound of the future but I didn't realize how much the impact would be.
My name is Giovanni Giorgio, but everybody calls me Giorgio.
It was almost impossible because it was— The dream was so big that I didn't see any chance because I was living in a little town, was studying.
And when I finally broke away from school and became musician, I thought, "Well, now, I may have a little bit of a chance." Because all I really wanted to do is music and not only play music but compose music.
At that time, in Germany, in '69, '70, they had already discotheques. So, I would take my car, would go to a discotheque, sing maybe thirty minutes.I think I had about 7-8 songs.
I would partially sleep in the car because I didn't want to drive home and that helped me for about—almost two years to survive, in the beginning,
I wanted to do an album with the sounds of the '50s, the sounds of the '60s, of the '70s, and then have a sound of the future. And I said, "Wait a second. I know the synthesizer. Why don't I use the synthesizer which is the sound of the future?"
And I didn't have any idea what to do but I knew I needed a click. So, we put a click on the 24-track which then was synced to the Moog modular. I knew that it could be a sound of the future but I didn't realize how much the impact would be.
My name is Giovanni Giorgio, but everybody calls me Giorgio.
