The long Biography - robert de la... gauthier

ROBERT DE LA... GAUTHIER
The long Biography
THE VERY BEGINNING: EXPERIMENTING PLAYING WITH RECORDS
Robert started to play with vinyl records around the age of 4-5 years old, and remembers having
lots of fun with a record player, on which he could use singles 45 rpm, 33 rpm long players, and
78 rpm (which was quite fast. There weren’t many records on that format anymore, but the older
record player still offered the possibility to play records on the 78 rpm format). Right from the
start, Robert experimented with the vinyl’s and all possible options offered by the record player to
listen to music and story records, using the slower, normal and very fast speed, and even played
some of the records backwards. The record player & records was already his favorite toy and
kept his attention for long periods of time. He drove his parents crazy, doing these crazy things
with the records, like repeatedly changing speed and playing some records over & over at the
different speed.
ALREADY THE CALLING TO PLAY RECORDS FOR OTHERS & HAVING THE NEWEST
RECORDS FIRST
The urge to be the 1st to have the newest records and to play them to others, to this day, started
at a very young age. In his pre school year, he was already the first to have the latest records (TV
shows, stories) to bring to school for everyone to hear. One time a female class mate broke one
of the new records on Robert’s head because she was discontent that he always had the newest
records, and that the class preferred to hear his instead of hers.
FIRST INVOLVEMENT WITH MUSIC AND LIGHTS
One of Robert’s first involvements with music and lights was with a school project, where he was
responsible to operate the lights during the performance, pick the colors and places where they
should be, and start the appropriate music for the appropriate scene for a Muppet show. This was
a marking experience. He then noticed that he liked that experience very much, and that he had
the affinities and aptitudes for such things already.
MUSIC IN THE FAMILY
Other members of his family we’re involved in music, like his father, implicated in the
management of a band and very passionate about music, buying lots of records. Some of his
cousins are musicians, and Robert’s grand mother, who had a piano at home. Whenever the
family was visiting, Robert ended up playing around on the piano for hours.
PLAYING AROUND WITH MUSIC INSTRUMENTS
At one of his schools, there was also piano, and Robert often locked himself in the room for hours
playing. Unfortunately, his mom being a single mother couldn’t afford piano lessons, so Robert
never learned how to really play reading music on the piano. His sense of harmonies and sounds
were good and some teachers noticed and thought him how to play songs on the piano and then
on the guitar using music sheets with diagram showing points on the strings of the guitar forming
chords.
Later Robert played flute in the school orchestra, where he learned the very basics of reading
notes, play, and especially experience harmonies in a group. The teacher once told his mom he
was really talented and should pursue music.
Later on, Robert’s dad got a Hammond organ, with those incorporated rhythm drum machine, on
which Robert experienced with the rhythms.
His dad then offered Robert his first synthesizer. The first synthesizer he ever held in his hand. A
Casio VL-Tone made famous by the German group TRIO, who used the rhythm for their smash
hit “Da Da Da”. We see the German influences already making its course on Robert.
DISCO MUSIC INFLUENCE
Robert first started buying 4 track tapes (cassettes). The album from the group “Musique” with
songs like “In the Bush” and “keep On Jumping “and the “Saturday Night Fever” soundtrack are
the first tapes he bought. He was at a party during his summer holydays, where there was a
“mobile disco“. They played many of the songs from this classic album. Robert was really
impressed by this disco music played on the loudest sound system he had yet ever heard, and
was also fascinated by the flashing disco lights and people dancing.
His dad then had one of those mini vans, with the inside walls decorated with carpets, lights, sink
and fridge, and was equipped with a loud sound system with nice “boomy” bass where he’d play
some of the early Donna Summer, Giorgio Moroder, Village People and other disco records that
had lots of funk & groove.
This was a big influence on him. Whenever he visited his dad Robert would rush through the
disco records & tapes collection and go crazy listening and recording them on tapes. The
soulfulness, the funk, the disco with its repetitiveness and electronic flavor, feelings and energy of
some of the songs he discovered & listened then all contributed to the education & evolution of
Robert’s style and opened ness for different styles of music.
One of the first vinyl records Robert bought was this B-52’s classic album with songs like: Planet
Claire, Rock Lobster, 52 girls, Dance This Mess Around..
SOUND SYSTEM
Totally obsessed about getting a sound system, the issue was a serious matter of life and death.
Already feeling extremely inspired by music, he wanted to live it and be immersed in it. He
needed it and was aching for the sound system really badly! Thanks to his grand mother who
offered him one!
FM RADIO
Getting his first sound system gave him the opportunity to discover and listen to FM stereo radio.
It sounded so good on his new sound system, compared to the AM radio he was used to. Two
specialized disco shows particularly got his attention then, one with Michel Jasmin, and another
that was his favorite. The show was moderated by Alain Montpetit on CKMF in Montreal. This
was the most informative show about the newest disco releases and current information about
international and local artists, since at that time, Montreal had a lot of internationally renowned
disco & funk artists being big names topping the top of the charts for the most sold music of that
time. It was also about djs and discothèques. Robert was totally obsessed and fascinated by
those shows, he recorded them all, and they greatly contributed to his musical knowledge and
education.
Michel Jasmin
Alain Montpetit
Dionne Warwick
DISCO TV SHOWS (ET CA TOURNE & SOLID GOLD)
“Et Ca Tourne”, on the French channel was moderated by Alain Montpetit and “Solid Gold” by
Dionne Warwick. Many of those disco acts also appeared on television. Saturday night TV
shows, ancestors of MTV, where they would invite the latest disco & funk groups. Artist like:
Instant Funk,
The Bee Gees,
Earth Wind and Fire,
Donna Summer, Chic,
The Village People,
Sugar hill Gang – Rappers Delight
and many more. ..
They left a long lasting impression on Robert. Solid gold, on the English Channel and “Et ca
Tourne “on the French channel were amongst Robert’s favorite TV show of the time.
COCO DOUGLAS LEOPOLD on CKMF “ THE NEW WAVE ERA”
He was Alain Montpetit successor and Robert loved that show and listened to it religiously. This
was about a different type of music. No more disco! All about New Wave music, clubs, events,
fashion. Robert wearing purple pants discovering many of his all time new wave favorites, like:
The Buggles “Video Killed the Radio Star”,
B-52’s,
Godley & Crème “An English Man In New York”
Cult Hero “I Dig You”
Puzzle “Weekend rock”
Flying Lizards “Money”,
The Knack “My Sharona”,
M “Pop Music”,
New Music “Straight Lines/Living by numbers”
Lene Lovich “Lucky Number”
Marianne Faithful “Broken English”
Teenbeats, “I can’t Control Myself”
Roni Griffith “Mondo Man”
The Clash “Rock The Cashbah”,
The Buggles
Godley & creme
Cult Hero – “I Dig You” 45 rpm Canada and import front and back
M- Pop Muzik
Marianne Faithful – Broken English
The Knack – My Sharona
It’s obvious that the music was already passion for him and that he was driven to listen and keep
informed about the newest music coming out.
ROLLERDISCO & LEARNING THE SKILLS
At 15, he started doing indoor roller skating at venues set up as a discothèque with a dj & disco
lights. But he didn’t skate much; he spent most of his time in the dj box, where he became
acquainted with the djs, talking about the latest releases. Back then, at that place, the dj used two
loud speakers as monitors. One channel for what was playing in the room outside (Dance floor,
or the roller skating ring in this case) and the other box/channel, for the cue (previewing &
adjusting the tempo of the next record to be played). Nowadays, most djs use headphones.
That’s how Robert figured out some of the djing technique and learned at first. He could hear
everything they we're doing. Where and how they cued the next record, how they matched the
tempo and scratched to find the first beat. Once in a while, he was allowed to operate the light
show. Since he knew all songs very well, and was good at being in time with the rhythm, the djs
liked the light effects Robert was doing since they matched the music. At that time, there was no
computer doing this automatically. It was mostly switches and pin ball machine buttons. He then
even built a small light show on the ceiling for his bedroom with the lights from the Christmas
tree. His mother was horrified and thought he was going crazy!!! The neighbors too!!! Seeing the
lights flashing in the room from outside and hearing just “boom, boom, boom”.
OBSESSION WITH MIXING MUSIC
Now that Robert knew how beat matching & mixing two song together was done, his obsession
with mixing music grew stronger and stronger, to the point where suddenly, a sixth sense started
developing. He would hear mixes in his mind, without a turntable, or any other ways to practice
his ideas. He would hear a song and would know what other songs could go with it, not only beat
matching in speed & rhythm, but also in style. The disco & new wave music of that time was
mostly played live by bands, which resulted in varying speed/tempo during the songs that made
the task of beat matching perfectly compared to today’s house and techno music characterized
by constant rhythms and songs mostly around the same BPM (Beat per Minute or tempo). The
music of that time differed in tempos, so, many djs had to write the Bpms on the records to keep
track of what could be mixed with what, but Robert never practiced this method. He could easily
remember, and, especially, didn’t want to ruin the art work of the precious records covers and
labels with notes about beats per minutes.
FINDING A WAY TO MIX
The problem was that at that age, a mixer and turntables were absolutely unaffordable.
But he had a creative idea and found a way. He would record every dance music radio show on
tapes, and…after having quite a collection, and having found an old 4 track cassette player,
where he pulled out the small door, where one inserts the cassette, so that he could play a
previously recorded tape with disco tracks on them, while listening to a disco show on the radio,
and try to beat match, the tape, and the song playing on the radio, using the “pause “. But that
wasn’t enough, at some points, the tape needed a little push to catch the rhythm to be in sync, or
it needed to be slowed down a bit, so what he did, was to use a pencil, with a long enough pin,
that could be inserted, in the turning mechanism of the wheel, turning the tape, to slow it down, or
make it go slightly faster, in order to get the beat in sync with the song playing on the radio.
Off course, this was done without a mixer, hearing the song on the radio from the sound system,
and the sound of the cassette, playing from the integrated speaker of the cassette player, using
the respective volume control and make the necessary blends and fades, to come close to a mix.
That’s how bad he wanted to mix and these we're his first experimentations with beat matching
and mixing. At 16, he eventually got himself a Technics turntable with a pitch (variable speed),
and was mixing with a tape player and a small mixer.
SOUND COLLAGES
At that time he remember having a lot of fun making sound collages with different parts of songs
using the
“Pause” function on tape recorder/player. Back then, the pause function was really direct, it was
like sampling and triggering with a sampler. This was when he was around 15 years old, and
already, had fans at school (St-Maxime, in Laval), always looking forward to hear the next little
montage/collage/mega mix he would get ready and play for people at lunch time at school.
FIRST MAJOR BIG PARTY PLAYED AT
At that same school, he played the closing party of the school year. This was his first major party
with about 1000-1500 persons. He rocked the party big time! The crowd screamed hysterically
and danced like crazy! He even got the crowd to participate, by lowering down the volume in
some parts of songs, and have them sing it. It was a real euphoric party, so good that the heat
level got very high, causing the amplifiers to overheat and shut down. This was also his first time
dealing with a technical problem. At the peak of the party, no more sound! People screaming
wanting more! He stayed calm and concentrated, trying to find a way to get the music back on as
soon as possible. He then had the idea to ask the girls from the school “ esthetics & coiffure
department “, to run and get some blow dryers to cool off the amps... Imagine the scene, a bunch
of girls blow drying the amps. He wishes he had a picture of that. The trick worked, and in no time
the amps we’re back on and the party in full on mode again.
He remembers playing stuff like Human League "hard Times", "don't you want me”(making
people sing along), Tony basil "Hey Mickey", Roni Griffith produced by Bobby Orlando, with the
big hit of that time "Desire", which was really electronic and disco, Soft Cell “Tainted Love”, and
many more…
PLAYING AT THE SCHOOL RADIO
The next year, he played on the school radio. Robert already had many people who liked his
music, but not all, since the school was divided in three main music genres: Rock, Disco, and
Punk / New Wave.
On the radio show, he played new wave and disco, to the discontentment of the rock people, who
Once went to the length of blocking the exit of the radio show room with a big bunch of garbage
cans, piled on top of each other. What they didn’t expect, was that he would make a fabulous &
famous talked about exit, pushing the cans away, making lots of noise.
Some other people really hated disco music, and even told him, that they had heard of scientists
making experiments with rats, playing them disco, and that after a while, the rats turned gay.......
MOBILE DISCO
Robert learned and gained a lot of experience djing for a “mobile disco “company, where he
played at weddings and corporate parties. He already had flair to get & keep the crowd dancing,
no matter how varied in age and style of music it took to get them to dance and have fun. This
was an excellent experience to build up his abilities that serves him through his entire career until
now.
DISCO
After being a regular at the roller rinks like “ MusicRond “, and “ Recreateque “, Robert started
going to a dance club for kids over 16 y/o. KEBEKELEKTRIK was where he would go dance, but
also end up in the dj boot talking and watching the djs. He think the dj then was someone called
Maurice Jasmin.
From that point on, Robert’s heard a lot how good some of downtown Montréal’s clubs we’re, and
started getting really curious about them.
DOWTOWN MONTREAL CLUBS IN THE LATE 70’S, EARLY 80’S
He visited popular clubs in downtown Montreal like, “LE 1234“and a few others. Something quite
funny once happened. He stopped by a club called “LE REFLECTION“he saw, while walking
around the downtown area. Being nervous and excited, since it was the first time he went to
downtown clubs, still under 18 years old, interested in checking the clubs, the music, the djs and
the lights. He went in and stayed for one drink. It was early, with barely anyone besides the
bartenders and the dj. He later found out that this was a gay club, and many of his friends had to
laugh a lot!
LIMELIGHT MONTREAL
His main destination was the LIMELIGHT, on Stanley Street, which was the high temple of disco
worship of the time. It was the place to be. Known for it’s extravagance, sound system, crazy
disco lights, crazy crowd, best djs and also with a famous gay club on the second floor called “LE
JARDIN“.
The very first time Robert went to the LIMELIGHT, was to go see a popular disco group of the
time coming from England for a live show. ”IMAGINATION“, who had the big hit, “(It’s just an)
Illusion”. He also went to Limelight to see a more underground new wave group of the time called
FINGERPRINTZ.
He saw also GRACE JONES live there!
FINGERPRINTZ
GRACE JONES
He also went to Limelight on different nights of the week, for example, on Thursdays, where he
would go hear the very good Montréal dj, MICHEL SIMARD, who was playing at that time funky
disco stuff, like PEACHES AND HERB “ Fun time “, PATRICE RUSHEN “ Forget Me nots “ and
tons of other cool pieces.
Robert has also heard Michel Simard play more eclectic type of sets (new wave). He would
record them from the radio, since the club was live each Saturday night.
ROBERT OUIMET
One of the biggest dj influence on Robert, was ROBERT OUIMET, who was the most famous
LIMELIGHT DJ, and a Montreal legend, being the major disco pioneer, introducing Montréal to
the best disco sound, and then, at some point making a radical 180 degree turn and started
playing NEW WAVE, shocking everyone…
A funny anecdote that Robert heard, relating to this, about a similar story from Amsterdam. Steve
Malenka, a popular party promoter, who had Robert played often at his events at the famous
Amsterdam’s ROXY, and became a good friend, was telling a similar story about DJ EDDIE DE
CLERC, who was also one of Amsterdam’s first disco dj, who one night, did exactly as Robert
Ouimet did in Montreal. At 12h00, playing the last disco track, and then switched to a complete
new style, which was New Wave, freaking everyone out!
Funny how similar things happens at similar times across time and space.
Robert will remember forever hearing AFRICA BAMBATA & THE SOULSONIC FORCE PLANET ROCK on the LIMELIGHT sound system. The fat and dense electro kick drum, and the
stolen KRAFTWERK keyboard synth line taken from TRANS EUROPE EXPRESS, sounded so
awesome and big on that system. So much, that while dancing on the speaker, he fell off!
” ROCK ROCK, PLANET ROCK, DON’T STOP!!! “.
Hearing Tony Basil’s “Hey Mickey”, for the first time, the long version, making Robert crazy to get
the record for him, as well as the 12” remix of Human League “The Sound Of The Crowd”, which
sounded absolutely mind blowing on that sound system.
Robert had to buy these records, and went through a great length to get them, first, a bit driving
the record store clerks a bit crazy, since all the records he asked for we’re so new that that had
no idea they existed, but after a while, they started to like Robert and even took tips from him
ordering records he wanted in greater numbers, since many he had asked before became major
hits long after. The records stores we’re very far and Robert would take the bus from the suburbs
to go to Montreal’s Downtown to stores like Pierre Musique, Downtown, and some other smaller
import record stores.
These we’re some of Robert’s first major big club influences.
ROBERT FIRST JOB IN A CLUB AS LIGHT OPERATOR
STUDIO 1
Ste-Catherine W, Montreal
This was his first job in a club, being the light operator. He worked with another Montréal legend,
LOUIS GEORGE CAZABOND. Who Introduced Robert to ESG, and other New Wave Disco
Stuff.
LE JARDIN
Stanley St, Montreal
This was the most popular gay club of that time, and was on the 2nd floor from LIMELIGHT,
where he worked for a longer time with dj’s like; MICHEL LANDRY, CLAUDE LAVIOLETTE, and
many others. He learned a great deal by operating the lights, and witnessed how the djs would
get certain atmospheres going, but also, learned to get the crowd to react, screaming, using the
lights. A very important part to build a strong dj experience and character.
Not only on the technical side, but also musically, where Robert, at the beginning of every
evening, would go in the club’s record archive, and have fun listening to them and practice djing
with those classics and newer stuff, before the crowd got in.
This was also the time when the gay village didn’t really existed yet as such. It was in its very
very beginning phase, where only a few clubs and bar existed. Most places we’re still downtown.
But as the city realized the commercial potential of this area, decided it would be better to have
the Gay public somewhere else. These we’re different times.
DJING IN CLUBS - The Beginning
ENERGY
St-Denis / Marie Anne, Montreal
Robert‘s first job in a club where he played New Wave and Alternative music.
Soft Cell, The The, Nina Hagen, Cabaret Voltaire, Shriekback, Killing Joke, The Cure, Bauhaus…
AFRICA
First gay club played at. He was playing a mixture of disco and high energy, electronic new wave
music like; Heaven 17, THE THE, Grace Jones, Yazoo, Irene Cara, Michael Sambello, etc...
Anecdote:
There he had his first experience making someone cry with the music. He was playing an old
Gloria Gaynor song called “How High the Moon”, and a guy, in tears, came and thanked him, for
this very special moment.
The second time was at a big rave in Germany, 1994, when a big German guy in tears came and
said thank you for playing such beautiful music. That it moved him so much that he started crying
and had to come and tell him.
☺
LE GARAGE
382 Mayor, Montreal
At this point, and for the next 6 years, this was the most popular gay club in Montreal. The owner
heard of Robert’s success at l’Africa and offered him to play the nights in the beginning of the
week. At that time, the club was busy every night, even Mondays, Tuesdays and Wednesdays.
Week nights attracted an eclectic crowd. Their music taste suited Robert perfectly, giving him the
opportunity to develop and use his affinities to play very upfront and new music, more alternative
and different from the weekend, but at the same time, also playing some familiar songs, to keep
the crowd happy and have them come back for more every week.
He learned early how to find the right balance between new, unknown, and familiar songs to pack
the dance floor and keep the club full till the end. That was part of the art then. It was also the
time when there was one dj all night, playing from beginning till the end. Perfect set up to build up
the atmosphere to a high point and bring it down towards the end, leaving the people with a good
feeling to take home with.
Le Garage is one of the most important club he played at, and this, for a 5 ½ years residency
where he worked on average 4-5 nights a week and often more. The club was a big success and
very often, the weekend dj, Mario Lemire (Mario Bros) had to work very often as extra bartender
on the weekends. Robert had to cover for him and often djed on weekend nights as well.
It was a really cool club, underground, modeled as a garage, with parts of cars, garage doors,
fuel pumps, big metal barrels, front and back pieces of cars, where people could sit on, placed in
a parking like way, in a long and narrow space, that opened afterwards the main front space,
since the club was so full, and they needed extra space for the extra people. That Space was
called THE PARKING. The other coolest thing was the dj boot. The front part of big flat nose ten
wheels truck. They took everything out to put the turntables, records and the light controllers.
The djs often surprised, and sometimes also scared people with the giant flute like horn, which
they were using in peak moments to increase the tension and get people to scream. It was loud!
BEEEEEEEEEEEEEEEEEEEEEP!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Le Garage was also known for one very special revolutionary night called “ LADIES NIGHT “.It
was on a Wednesday, once a month, with theme, special decoration, where Robert also had to
participate and share ideas for the themes and build the decors, costumes and find the
appropriate music. This was one of the first night in Montréal’s gay club history where women
we’re allowed in. The atmosphere was incredible, completely full, very early on, people waiting all
night to get in, and Robert, on fire on those evenings, playing his eclectic mixture to a crowd
ready to party! God knows they did! Finally boys could take their girlfriend, sister, to their favorite
club to experience.
TOP TEN PUBLICLY PUBLISHED FOR THE FIRST TIME
This is the time when the first “dj top ten “we’re published in Montreal’s main French newspaper
“Le Journal De Montreal “where Robert was amongst the firsts to have his top ten published
weekly.
This is the time of Robert’s revolutionary ideas and influences on other djs, first by being one of
the first dj in Montréal who dared to go work for another club while, at the same time working at
another. Back then, djs didn’t do that. They we're bound to one club and that was it! Robert‘s
passion for music always translated in some ways, by buying lots records. He influenced other
djs to also buy their own records, since at that time, most clubs bought the records for the club to
keep. By buying their own records, djs could also develop their own sound and style and be more
confident and depending less on the allowed record buying budget given by the club.
Then, when confronted with unsatisfied club owners, one could just leave with all his records and
start somewhere else, and also offer the possibilities to take their style and play at other clubs.
MUSIC RESEARCH
Robert always did, and still does, lots of research for the music he plays. Mainly by reading
magazines, in the 80’s, magazine like, “ The Record Mirror “, “ NME “ and “ ID “from the UK and “
Billboard “from the US.
Reading reports about new artists, labels, and analyzing various top tens, to be informed about
the newest and most upfront releases, he could then order from his favorite record stores. Being
a favorite and privileged customer at most stores, who would reserve the newest and most
exclusive records just for him. When there was just one copy in, most time he was getting it. They
knew Robert was very open for the most “off the wall “, or strange, unusual music just received,
and that he’d be adventurous enough to try it in the clubs where he played at, and most time,
being the first to play it out, and make local hits out of them, way, way before it would be on the
radio or every other dj’s play list. This made the relationship between him and the record stores
very special, since they shared the same passion for new music as he was and helping him being
a serious trendsetter.
Reading the magazines also made Robert dream about going to England, Europe, and play at
those fantastic parties and clubs. Years later his dreams would be fulfilled!
VARIETY IS THE SPICE OF LIFE –EARLY ON PLAYING MANY STYLES
Robert then, played many different types of music in one evening. 12 inch vinyl and albums
versions, he would mix together to extend the length and have a special touch, with different
mixes/versions, mostly imported from the UK, Europe, and the us.
STYLE PLAYED EARLY ON
From dance to underground club music, alternative, new wave electronic 80’s pop, funk,
disco, and, at the end of his residency at “Le Garage”, the first house music records.
His style of playing was an original eclectic selection in the true spirit, and real meaning of the
term “ Garage Music “, which is now wrongly associated with deep and jazzy house music only.
The true meaning of “Garage Music“ is a mixture of many different styles of music, since there
was a big variety then, and not only specifically music intended for clubs, but all kinds, and the art
was about surprising people, playing something unexpected, or familiar, in a creative way, using
the lyrics, or titles in combination, at certain point in an evening, to tell a story, to talk to the
public, carrying a message across. It brought them in total frenzy, uplifting and taking them on
journeys to an ecstatic experience. That is the art of djing in its purest form, creating the magical
atmosphere of the disco experience.
In NYC, at “PARADISE GARAGE “, DJ LARRY LEVAN had already been pioneering this type of
djing. Robert can not claim he inspired himself from him, since he did not hear about him or the
club until much later, long after he wasn’t working at “ le Garage “ anymore, and had left Canada
to live in NYC, while unfortunately “ Paradise Garage “ was already closed. After hearing, and
reading stories about the Paradise Garage and Larry Levan, he was amazed at the similarity, but
also realized that it was normal then to play such a variety of music, since it was the way music
was at that time and was the logical way to play it.
SOME OF WHAT ROBERT PLAYED AT LE GARAGE IN MONTREAL THEN
In the course of 6 years, lots of different style of music came and went. He played music from
Madonna, Yello, The Cure, U2, The Smiths, Ministry, Anne Clark, Grace Jones, Depeche Mode,
Indochine, Les Rita Mitsouko, New Order, Pet Shop Boys, Bronski Beat, The Communards,
Jimmy Sommerville, Alyson Moyet, Limahl, Laura Branigan, Dead Or Alive, Prince, Propaganda,
Tina Turner, Thompson Twins, OMD, Alphaville, Nena, David Bowie, Kate Bush, Peter Gabriel,
Ultravox, The Neon Judgment, Trisomie 21, The The,The Cult, Tones On Tail, Simply Red, Sade,
Talk Talk, Billy Idol, Fancy, Disco, ECT... He played so much that it’s difficult to remember it all
now. But the list will still grow.
But…….A major revolution was about to unfold.
Around end of 1986-87, Robert can claim to be one of the first djs in Montreal, and most
likely, Canada, to play HOUSE MUSIC.
The crowd went nuts!
These first releases were the first big HOUSE MUSIC anthems he played.
MASTER C & J
When you hold me- traxx records
LIZ TORRES
What You Make Me Feel
FARLEY JACK MASTER FUNK
Love can't turn around
QUEST Feat LIZ TORRES
No more mind games
HOUSE MASTER BOYZ AND THE RUDE BIY OF HOUSE
House Nation
KENNY “JAMMIN “JASON
Can U Dance
STEVE “SILK “HURLEY
Jack, Jack, Jack, Jack Your Body
MARSHAL JEFFERSON
The House Music Anthem
“Move Your Body! Move Your Body! “
As every major new emerging style, some people loved HOUSE MUSIC right away, but others,
not understanding it at first, especially because of the unfamiliarity of its repetitiveness. Some of
people’s first impressions were that it was only Boom! Boom! Boom! Boom! Robert introduced
House slowly in the beginning, spreading out the few tracks that we’re available, in the course of
one evening. But the owner, listening to every comment, more the negatives than the positives,
restricted Robert to play only 1 HOUSE song at a time. But it was already too late, since Robert
had been playing a lot of HOUSE MUSIC already and got the public used to it, wanting more, and
more. So, Robert, kept playing HOUSE anyways, not following the restriction, since most people
liked it already, and having his crowd have a good time always a priority, resulted in him getting
fired, after working almost 6 years at LE GARAGE, losing his long running residency for playing
HOUSE MUSIC!
Now that’s dedication, or?
Soon after, a new club opened called SECURITE MAXIMUM, and Robert was hired right away
for the opening and could play as much House Music as he wanted.
Then most people followed to the new club, and soon after, Le Garage had to close.
“HOUSE MUSIC ALL NIGHT LONG! Say What? HOUSE MUSIC ALL NIGHT LONG!
CHRONOLOGICAL EVOLUTION OF CLUBS WHERE ROBERT PLAYED AT
SECURITY MAXIMUM
Robert played there for about one year. That was the time of LIL Louis’s French Kiss, Cookie
Crew, Bomb The Bass, Company B “Fascinated”, MARRS “Pump Up The Volume” and the
beginning of the NEW BEAT period and the British answer to American House Music.
We have to add that, at the same time he played at LE GARAGE, he played at a few other
places.
Like:
LE SPOT
Ste-Catherine
Robert played a similar eclectic mixture that he played at Le Garage. That’s where he first met
MADO LAMOTTE, as a young boy, not as mado yet, asking for really cool and interesting upfront
electronic music, like THE TWINS, DEPECHE MODE, and other tacky cheesy things like Pat
Benatar (LOL).
☺
Robert remembers one favorite song the owner kept requesting. “LOST AGAIN “, by Yello.
Fantastic song!
UNDERGROUND
Ste-Catherine / Montcalm
One of Montreal’s first big after hour club.
It was first run by Yvon Lafrance & Claude Chalifoux, who had been running the LIMELIGHT for
years.
They we’re quite set in their ways and thought they had an idea how music had to be played in a
club. But times had changed and once again, confronted by Robert’s revolutionizing, trend setting
and experimenting ways, keeping the dance floor full and the crowd happy, to their surprise.
For Example, they couldn’t believe Robert would play the long intro of the maxi version of
BRONSKI BEAT, Smalltown Boy, who did quite, took a while before kicking in, but once it did, the
reaction was incredible!
JUNGLE
Ste-Catherine / Montcalm
In the same space as UNDERGROUND (and many other names to follow)
BAR BUSINESS
St-Laurent Street
Montreal
Not really a bar, but one hell of a crazy club with amazing décor. A big institution! The first “non
gay” club where HOUSE MUSIC was played. At that time, the gay public was always more
receptive to the newest trend, but this was the beginning of the awakening of another crowd to
interesting dance music. It had an amazing sound system, it helped greatly in making this new
music accepted and loved, brand new then, with the ELECTROVOICE subwoofer MTL 4, with 4
woofers in one box, and that meant BASS!!!!
That was perfect for house music and blew people away. That was one of the first club where
Robert was invited as a guest dj.
Quite an unusual practice at that time, but looks like Robert had impressed people enough to
start being in demand to play at other clubs.
He played quite often at Business, on different nights, and was really appreciated and he could
really let loose and really PLAY.
Business offered a revolutionary concept night was quite a highlight.
DJ JAM
A live event consisting of 3 djs, with 6 turntables, 3 mixers, synths, keyboards, sampler, guest
vocalists, instruments, and the three just jamming live over the music, or creating it live, mixing it
with records and participating with the musicians.
Robert had already being experimenting with a sampler and had the opportunity to use it in this
revolutionary set up.
Robert’s first sampler. A Roland S-50. Ronnie Ventura, a good friend of his from NYC had given it
to him as a gift.
One notorious moment was when Robert was playing JIMMY HENDRIX – ARE YOU
EXPERIENCED backwards, and forwards, setting a turntable on fire with lighter gas. He must
have felt like Jimmy and wanted to just set it on fire! Thank god it was a short thing, since it made
such a dark black smoke that left a spot on the ceiling until they repainted the place. People
couldn’t believe it and we’re screaming hysterically!
Another moment was Robert and CHRISTIAN FARLEY. Robert playing some rhythm records,
and Christian on a trombone doing the BLACK BOX riff, from the hit of that time, EVERYBODY,
EVERYBODY, and Robert scratching the vocals and using bits of it from his sampler. The crowd
went bananas!
I know CHRISTIAN PRONOVOST had a big picture of us too taken at that moment hanging for
years in his IN BEAT record shop, and would love to have it for my site!
Robert later also played again at BUSINESS on special GAY nights on Thursdays and he
remembers playing a St-Jean Baptiste party playing bizarre French Canadian music. It was really
fun!
BAR LEZARD
St-Denis / Rachel, Montreal
Robert’s second longest residency at a club. 6 years!
Started by playing one night a week. Got the place full in a very short time. Then moved to a
second night, got it full too, and a third & 4th. A big success! Everyone talked about the Lezard!
The perfect crowd for Robert. A mixture of open minded and fun people, gays & heteros. Lots of
artists, since the club was situated in an area of town where many lived.
Lezard was a word game with the French words, “LES ARTS” (The art).
Lots of fun, creative things were happening at the club, like body painting. They also had a big
wall where people could just paint collectively through the night. Bizarre shows, jams with
musicians & dj, drag shows, theme nights. Robert actively participated in brainstorming sessions
to choose different theme nights, décor change, and then participated in the making of the décor,
drawing, painting, ect…
Lezard was also one of the first clubs that made flyers for the different nights. .
Lezard was the first montreal club that did an ACID HOUSE night.
Lezard was one of the first club that played techno.
This was also the place where Robert Gauthier, as dj, became ROBERT DE LA… GAUTHIER.
Jean-Denis Lapointe, who was part owner and manager, came up with the name as a joke for a
flyer.
The joke was that Robert, after working for so long already in gay clubs, had got into the habit of
calling everyone “SHE”, in French (LA), even for men. Lezard, outside the gay village, with off
course some gays in the management and staff, but more the alternative gay type, preferring a
mixed environment, we’re a bit uneasy with Robert making fun of them talking to them all, the
owners, the managers, even the hetero staff, “la”, and “elle”, as a joke, of course. So out of sweet
revenge, Jean-Denis made once a flyer, and used “DE LA…” to get back at Robert. And that’s
how ROBERT DE LA… GAUTHIER’s name came to be.
No special high society title, just a great name that had to stay.
Robert once again playing a very eclectic and experimental mixture of electronic dance music,
leaning more towards industrial, with stuff like Severed heads, Skinny puppy, lots of Belgium
music, like Front 242, Camouflage, Cetu Javu, New Beat and German EMB (Electronic Body
Music). Lots of Depeche Mode, The Cure, Alternative/ New Wave classics, and some HOUSE
tracks.
Even thought he played mostly, “up beat” electronic music, Robert also played down tempo
music in different style. For example, it was a big revolution when SOUL II SOUL released their
famous first album with Keep On Moving, Back To Life. All tracks we’re good, and Robert played
it a lot at Lezard. He played other down tempo stuff like Lisa Standfield, All around the world, Dub
Be Good To Me, which was the first mash up / bootleg, consisting of an accapella from The
S.O.S. Band and a bass line from The Clash, made by Fat Boy Slim under the name Beats
International. It followed Robert’s way of playing different kinds of music. But Robert pushed it a
bit further, going to extremes, playing complete unexpected silly things, and made the people
crazy!
MOVING TO NYC
At that Point, Robert, after a few visits to NYC, moves to the BIG APPLE for about 9 months.
His first visit, to what can be one of the most incredible and impressive club Robert ever been at.
THE SAINT
It left quite a big impression on Robert. No wonder! It was magical! The settings, the lights, a
dome over the dance floor and a star projector, from a planetarium in the middle of the dance
floor, at some point, creating the night sky over the dancing crowd. At his very first visit, Robert at
some point, realized, looking at his watch, still dancing, that it was 10h00 in the morning. The
place was still pack like at peak time.
The Saint is one of the origins of the big so called “circuit parties”, but come nothing close to what
the experience of that club was.
NYC
NYC influenced Robert in many, many ways. First by exposing him to the concept of after hours,
late morning dancing, but also, many of the different aspect of the club culture of that time.
Robert lived in NYC for around 9 months. In the beginning in Manhattan, then spent some
summer days on FIRE ISLAND, where he played. At that time met with FRANKIE KNUCLES,
which was so nice to lend Robert some record for his FIRE ISLAND gig at the hottest spot of the
island.
THE PAVILLION
He even had friends driving from Montreal to bring him extra records for that gig, and at the same
time, had also RONNIE VENTURA, that he had just met at a record store while shopping for new
records for the gig, realizing, by coincidence, that Ronnie was to play the night after him. Robert
was missing a few key records for his set for that night, and Ronnie was so kind to lend him the
records he missed.
Robert impressed the manager and the crowd a lot for his set, being a chance taker, playing
some house music to the so called SAINT crowd, who was predominantly white, and not used to
house music, but more a EURO sound, while house music was played more at black and
Hispanic venues like TRAX & PARADISDE GARAGE, ect…. But Robert did it in his own creative
way, mixing it with some of the music they we’re used to, and loved, and made a great night. He
stood out also by being even crazier, playing B-52’s, Planet Claire, perfectly mixed in, getting the
whole crowd in frenzy, especially BOB HOWARD, who was managing the place and took the
chance and giving Robert the opportunity, even if Robert was unknown to the NY crowd of that
time, to play on a busy Saturday night. Years after Robert met Bob again, and that’s the first thing
he remembered. Planet Claire! But also a very creative mix involving a version of THELMA
HOUSTON and THE COMMUNARDS (Jimmy Sommerville), having the different verses sang, by
the different version, perfectly blended at the right moment, getting him the warmest standing
ovation, people screaming and applauding him for that special mix.
He even impressed RICHARD SABALA, who was the main man in charge of the lights at THE
SAINT, who’s hard to impress, having seen many great djs and doing lights for them. But Robert
did!
THE SAINT
Robert Also played in Manhattan, at an after hour in the meat district called THE COOLER.
Robert was quite proud to have Frankie Knuckles come along and support him by his presence,
but also with some records. Such a sweetheart!
Robert went out a lot during that time in NYC. Places like BOYBAR, THE PYRAMID, where
Marlene from Montreal was working, THE WORLD, especially on Tuesdays, for the famous
ROCK AND ROLL FAG BAR, hosted by a strange character similar to Marilyn Manson named
DEAN JOHNSON. That night was fantastic, in the big hall playing all old rock classics, and a gay
mixed crowd dancing and lovin’ it! While downstairs, in the smaller club, MICHEAL ALIG (yes, the
one from PARTY MONSTERS), who was dating DJ KEOKI at that time, with whom Robert
became acquainted. Robert hung out a lot for a while with some of the KLUB KIDS of that time.
He became good friend with LINCOLN, who was part of the group of Klub Kids, best friend of
JAMES ST-JAMES. Robert Spent many nights with them all. CRAZYNESS! SAVE THE
ROBOTS! (Was one crazy small after hour). But at the same time Robert met FRANKIE
KNUCLKES, who told Robert to be careful, and suggested to find a different group of people to
hang out with, since they we’re a little crazy! God knows, he could have probably ended up cut
up in a bag in the Hudson river. Well, that was one crazy incident that happened much later, and
for the time he knew them, of course they we’re crazy and excessive, but hadn’t quite gotten to
that point yet.
THE WORLD was an old theatre in the lower east side, and had crazy parties all the time. Robert
remembers hearing DAVID MORALES there the first time, before he heard him later at RED
ZONE. Robert was there when they both were playing on the same night at The World. Frankie
Knuckles & David together. Robert remembers Frankie playing one favorite of his, the piano mix
of a song called ACID OVER. It was the time of ACID HOUSE. Even Frankie played some!
Next to The World, was an after hour called CHOICE, he thinks, where probably he heard Junior
Vasquez the first time. There was also TRAXX, which was also really cool, predominantly black &
Hispanic. The Kingdom of vogueing, which was then transported to the SOUNDFACTORY, on
JUNIOR VASQUEZ nights.
Frankie Knuckles took Robert to the opening night of SOUND FACTORY. Robert went to so
many different nights that influenced him, like some nights from a promoter called SUSAN
BARSCH, who did really crazy parties. He saw DEE LITE, live, at one of those nights, about 2
years before their big success.
When Robert returned to Montreal, he was playing all those Dee-Lite song waaaaaaaay before
they became popular.
MARS club was another of Robert’s favorite, since they had an ACID HOUSE night. Robert was
already hooked on this music, which was one of the first house sub genre, after the beginning of
house music.
That’s also when Robert became acquainted with LARRY TEE, who was one of the rare to play
lots of European, crazy Belgium and German techno and acid stuff. Now a big ELECTROCLASH
figure.
Robert visited THE TUNNEL, on some gay nights, with popular SAINT dj MICHEAL FIERMAN,
visited a dj named MAX, in the space where SOUND FACTORY BAR would be, but forgot the
name of the place then. After Fire Island, Robert even worked at some “SAINT AT LARGE”
parties, helping around for different tasks. He remembers working a SAINT AT LARGE party on
New Years Eve at the original STUDIO 54, and other locations In NYC for the same party series.
RETURN TO MONTREAL
When Robert came back to Montreal, he was trying to convince club owners, to create a similar
atmosphere and kind of parties, but no one listened, thought he was out of his mind, crazy and
lost it. WHAT??? Dancing till noon??? Big parties??? Weeknight events??? Robert knew the
day would come in Montréal for such parties, and it did! He wanted that experience to be shared
with Montrealers and his friends.
Robert needed to get his creativity out, inspired with fresh new influences & ideas, wanting to get
involved again and was aching to dj in Montreal again. Since he had been gone for 9 months, all
the nights we’re taken. At Lezard, Tuesday was the only night left, but that was perfect for what
Robert had in mind.
LES MARDIS INTERDITS AT BAR LEZARD
He then proposed LEZARD a concept of theme nights on a Tuesday. A Tuesday? They thought
he was crazy. But Robert could persuade them to try, and with the help of Jean-Denis, and
MADO, MADAME SIMONE, ect… They started doing theme nights every week, with special
décor, costumes, performances, appropriate music following the theme. The night became
LEZARD’s biggest success and ran for years, being the busiest night of the week, with line up,
and crazy atmosphere.
That’s also at Lezard that Montreal experienced its first ACID HOUSE PARTY. Robert loved this
music very much, and especially the SMILEY, HAPPY FACE art that went along with it. Robert
then participated in making giant happy faces smiles to put all over in the club. The décor ended
up staying for months.
Lezard was also famous with changing décor every once in a while. Notorious, and Robert’s
favorite must be when they had lights inside big white tubes, usually used for home dryers, to get
the air out, which were then hung on the ceiling, flashing to the rhythm of the beat during the
night. The effect was fantastic!
Lezard was one of Robert’s most creative and fun place he worked in harmony for a long time.
Almost 6 years. The owners and managers saw and appreciated Robert’ talent and trusted him,
even if sometimes, being a bit skeptic at first, with his crazy ideas or every time he brought on a
new music trend and party concepts. But in the long run, it was one of the factor that helped keep
the club open longer, by re inventing itself, stay fresh and move in time with the developing music
and trends, even if at first, it seemed a bit avant gardiste, and scared them.
WAREHOUSE PARTIES
Robert was amongst the first djs in Montréal to play many underground, often illegal, or semi
illegal warehouse parties. Sometimes in Old Montreal, and other location in the city. One spot
was popular, and Robert played more often, where the Musee Juste Pour Rire is now. There
were many Warehouse parties organized by different organizers. He remembers one from
NICOLAS JENKINGS and another by SPIKEY, called TO BE (In), and a few others from the
owner of shed café of the time. Romero organized also a few where Robert played with many djs
like MARK ANTHONY, Martin McLeish, Christian Pronovost, Tony Desipris and many more...
Regarding these parties, the city of Montréal was very strict and difficult. No after hours! Also at
that time, very few people knew about ecstasy (MDMA), so, the parties never really went later
than 6 or 7 a.m. That was if the police didn't close them down before. Many times, he and a
bunch of people ended up in his apartment living room, where he had his record players set up,
to continue the party in the company of some friends . Of course! Playing more and more
records.
After the police raid done at SEX GARAGE party from NICOLAS JENKINGS, a manifestation
was organized, a parade on the street and a party in LAFONTAINE’s park, where Robert
remembers getting the crowd crazy, playing “ SHAME SHAME SHAME, SHAME on you… when
the police came along.
That’s the time when Robert would play his very first DIVERS CITE parties, at least he thinks
they we’re, if his memory serves him right. Organized by POELO. That he knows for sure!
MECANO
This was a small club managed by Pierre Viens, where Robert played a couple of nights, and
where MARK ANTHONY made his debut in the city playing HOUSE, before he went to BRONX,
where Robert also played a few nights.
VISITING THE SOUND FACTORY IN NYC
That was the time of deep and NYC’s influence on Robert with it’s CUNTY HOUSE, vogueing,
which Madonna and Malcolm McLaren took literally from the Hispanic dancers of THE SOUND
FACTORY in NYC, where Robert would drive on some free weekend, to go dance and
experience this amazing room and sound system, often, completely being blown away by
Junior’s music, and other times ok, which happens to any djs. He particularly liked the time when
FRANKIE KNUCLES played. That was the time of Basement Boys “Tonight “, CRYSTAL
WATERS , she’s homeless, Urban Soul Alright, The Sound Of Blackness with The Pressure,
Earth people – Dance, Fast Eddie’s In The Mix, and many of Robert’s favorite.
NY MUSIC CONFERENCE
That was also when Robert visited for the 1st time, a dj/music conference. The predecessor of the
MIAMI Music conference. Robert then wrote record reviews for a dance music magazine from
Toronto called STREETSOUND, which later on moved to NYC.
At this very first music conference, he filmed DEE LITE, doing a live performance at SOUND
FACTORY, and would later play on the big screen of club Pow Wow in Montreal. On the same
event, he remembers meeting one of the members of the English group 808 STATE, RUPAUL,
before her “You better work hit”, meeting LARRY TEE again, djing in a club, once again playing
similar stuff as Robert, being counter current, of what was played in NYC then.
ROBERT SLOWLY MERGING FROM HOUSE TO TECHNO
That’s the time when some of the first techno records started surfacing and in Robert’s eyes,
house music started stagnating to his taste. He needed a change, and to keep his enthusiasm,
always willing and open to try new style, didn’t have to be confronted for long before he started
including more and more techno tracks into his sets, blending it between the rest of the house
releases he still liked. But it was at that time still in its beginning stage.
THE CRISCO CLUB
Very big influence on the Montreal scene was "THE CRISCO CLUB”. That was the very first
place where people started taking ecstasy massively. The vibe was amazing, intense, and hot as
hell, water running down the walls and ceilings. People were open for music and Robert played
an interesting blend of US & British house tracks, and European techno. He played "Charly", from
"PRODIGY", long, long time before they got popular, also playing trippy stuff for the time with
music from THE ORB, like “Little Fluffy clouds”, 808 State, Orbital, KLF, etc… He loved it. The
Club sound was great and the acoustic and atmosphere fantastic! Finally, what he had foreseen
years ago in NY was coming true in Montreal, where he could take people on journeys. But it
didn’t take long that the city closed the club down shattering Robert’s dream and fun as well as
the people living this new experience.
COMBINING KEYBOARD SAMPLER LIVE AND DJING
He sometimes brought a sampler along and played pre prepared loops. One He remembers was
E-ZEE POSEE – Everything Starts with an E, HE-HE HE-HE-EXTACY!!!! People went mad!!!
It was appropriate for the place and people. ☺
Unfortunately, CRISCO didn't last very long. It was located in a theatre, and it was playing around
with the laws to be able to dance in this location. In those days, in Montreal, you had to get a
"DANCE
PERMIT", if you wanted people to dance at an event...
THE RITES OF SPRING
This was one special cool party done at Crisco who broke ground for many more to come in the
future.
Robert was djing and influenced the organizers to invite RICHIE HAWTHIN, JOHN ACQUAVIVA
and DAN BELL to play live in Montreal for the very first time as CYBERSONIC. WOW! John &
Richie we’re in their first releases of their cult techno record label, +8 Records
That night Robert played a demo from DEKO called “HOW DO YOU LIKE YOUR COOKIES?”.
When John Acquaviva heard it, he asked Robert for the demo tape and right away, signed and
released it on his +8 sub label called PROBE records. The very first PROBE release PROBE
001. It became a cult hi played by many.
VERSATILITY
Robert played many different types of clubs, gay, hetero, or a mix of both. He played many of the
ever evolving different styles and sub genres of dance music over the years. Adapting his style to
play at many types of clubs, playing house or techno, or at raves, parties, events…..Many of
Robert’s strong points, being versatile, have much club experiences, and to do lots of research
for the new trend, mastering the art of introducing new music to people and keep the party
rocking!
Traveling to other cities and playing at clubs he had never been reinforced this quality. Having to
rely on his intuition, and experience, to get the party going where ever he played at.
Robert is not a purist, but, open minded to the many different styles of music. Always very excited
about new trends surfacing. But also capable, finding it also very challenging, to sometimes make
special sets, events or theme nights, concentrating more in depth to certain types of music.
Whether a mixture of house, or concentrating on the many different sub genres, like tribal house,
or French influenced loopy disco, or deeper soulful sounds, tek house or minimal.
He always liked techno, in it’s many forms, starting from acid, to harder techno, Dutch gabber
hardcore( in it’s very beginning), real electro, to the faster hypnotic genres or the loopy tribalistic
stuff, the Scandinavian, German, Italian and American techno in their different sub genres.
Robert sometimes played techno sets at raves, or clubs and other times at house events, or gay
events, in house or tribal house direction, but also always bringing his flavor, by mixing other
styles through.
But whenever he can, his strong point is to be able to play the different styles in one set,
depending on the set length, and the public and event concept.
Many times through his career, he played different events, on different nights, with complete
different music. For example, at the same time he played at Lezard, Robert made guest
appearances at clubs like BUSINESS, on weekend nights with more of a hetero type of crowd, to
the special gay nights on Thursdays Business was doing at the time, and later on, GROOVE
SOCIETY, also some gay Thursdays and other nights.
He did the many club opening and played as resident. BIG BANG, POW WOW, later on played at
JUNGLE.
Between Lezard, and the many guest appearances, Robert unknowingly was building up his
ability to adapt and play for different crowds and types of clubs, as he later traveled to many
countries, playing at clubs where he had no idea what they liked and how it was.
DI SALVIO
This was particular place, which was fun and challenging for Robert to play at. Classy, hetero and
chic club, with lots of beautiful girls. He played some house and down tempo music, oldies and
bizarre music in between the popular dance stuff. Robert had a great pleasure of even playing
some FRANK SINATRA at special moment, to bring a different atmosphere. FRANK RULES!
TIGA used to visit him and ask for English break beat that Robert also loved at that time. Altern 8.
FIRST TRIP TO EUROPE
On Robert’s 1st trip to Europe, Robert travels through Amsterdam, and then head straight for
Germany, going through Bremen, Hamburg and ends up in Berlin. He visits the club TRESOR,
that is one of the most important techno club in the world, for his location, setting and reputation
as well as being a ground breaking record label. Most techno djs/producers from Detroit playing
regularly. Derrick May, Jeff Mills, Blake Baxter, Kevin Saunderson, ect…
Another of Berlin’s club heritage Robert visited was E-WERK. One of the coolest place in the
world at that time. That’s where he meets many of Germany’s important techno figures of the
time. Tanith, Woody, Cle, Dominic Woosey, Sammy D, Marcus Lopez, GTO, Mixmaster Morris.
That’s when he also finds out about an important event about to take place, but one week after
his planned departure. Everyone convinced Robert to change his departure and stay for this
marking event.
LOVE PARADE, in 1992, still cult an underground at that time. An incredible event Robert is
proud to have lived and experienced that influenced him greatly for the years to come.
Robert returned to Montreal from this trip with a whole bunch of techno records. He filled his
suitcases full! He shocked & created a lot of controversy by playing this unusual music at first.
Some loved it, some didn't. But that time, he was a bit more radical and kept on playing that wide
spectrum of techno music, from German & Belgium Trance, techno, to Detroit, British acid break
beats, fast hardcore techno, etc...
SATURN 6
Montreal’s first techno club. A night organized by Robert in a club called DAX, with ORLANDO in
the bar. It’s also where the very first smart drinks we’re served by the Justin himself, from JUSTIN
SMART BAR.
Trance , techno, house, Detroit, acid, hartcore, break beats, gabber, ect... He mixed it all up! The
music was considered very fast and hard for that time. Some adventurous Montreal djs came and
checked out this crazy music Robert was playing. They had never heard such music, not
believing how fast, techno & furious the it was.
They all tough he had lost his mind! The club lights we're only strobes and black light. Lots of
smoke, and all staff, including Robert, dressed in white painters outfits, smeared with fluorescent
liquid from light sticks. It was Montreal’s birthplace of furious techno nights and light stick use.
SOLSTICE
Or was it OASIS?
MONTREAL'S FIRST BIG RAVE
Fantastic event in the museum of contemporary art. Robert composed and played a track
especially for that event. One of his 1st music productions.
H20
Montreal 2nd big "Rave" Robert played at that ended up in a catastrophe. In a big hall, over
2500 peaceful people having a good time, dancing, chilling on mattresses in a chill out area
(media described as “a place to have sex on this new drug called ecstasy given for free in the
Smart Drinks"????). The police stopped the party at around 01h00 a.m. The people didn't want to
leave and sat on the floor. The police came in with helmets and sticks and charged the crowd
violently, chasing people to far away streets, beating them up. That was scary.
This was one experience that made Robert really tired and sick about the city’s policy on parties.
Then he played some raves in Quebec city, Ottawa, Toronto.
He had to go play outside Montreal since it was difficult for promoters to put
on a party.
ROBERT 2ND TRIP TO GERMANY 1993
When June came along, Robert was already back to Berlin for the next LOVE PARADE.
THE BEGINNING OF THE EUROPEN ADVENTURE
In January 1994, Robert went to Holland and gets his first dj bookings in Germany and other
places in Europe.
He ended up staying permanently in Holland from that moment on.
Robert lives in The Netherlands for the next 7 years, and then in 3 years in Cologne, Germany
until Dec 2004.
FROM 1994 TILL NOW
Robert has played many different events, clubs & raves, in Europe and America, that it would be
too much too list them all.
Check the section: “Places where Robert played at”.
Robert was an exception to the rule to break into the European dj circuit of clubs and raves at
that time. The fact is that new djs who start playing at parties, raves or clubs, were generally
producers, having record releases out. When Robert first came to Europe, he had not yet
released any records, but, his talents, experience and abilities gave him the opportunity play big
important events.
He was headlining at many massive raves, special events like “The Camel Air Rave”(Flying from
Germany, partying on the plane, then getting to Miami, onto a cruise ship, heading for a special
party on an island in the Bahamas, then back to Germany, all this in one week!), to different club
events, hetero & gay, house, techno, or electro.
He was flown to play at clubs & events, like raves, in the Usa and Canada around 3 to 4 times
per year.
He has played in all Montreal major clubs and events in the last years, like: Playground, Storm,
Red Lite, Sona, Aria, Stereo, Circus, Parking, Unity, etc…
He played through Europe, often going to Spain, playing many techno events in the north in cities
like St-Sebastian, playing the main event one year for Bilbao’s gay pride, to playing the gay White
Party at Amnesia in Ibiza, playing a Dutch party At EL Divino also in IBIZA. He also played in
Sevilla, Toledo & Madrid a few times.
He played all over Germany, Belgium, Austria, Switzerland, Macedonia, Slovenia, Holland, Usa,
Mexico & Canada.
JOURNALISTIC EXPERIENCES:
Along with DJ'ing, producing and remixing, Robert has contributed to the world of house and
techno as journalist. Over the course of approximately 5 years as reviewer in Streetsound,
Trance 5000, Foma News, Raveline, Loop, and Tendance. Robert has conducted interviews with
the likes of Orbital, Aphex Twin, Vapour Space, Robert Armani, Miss Djax, The Acid Junkies, and
Stefan Robbers. His internationally distributed column for Streetsound (in print first, later online)
was widely recognized as one of the most reliable and informative sources of house and techno
news, reviews and opinions found anywhere.
STREETSOUND MAGAZINE (Toronto, New York)
Wrote record reviews and was responsible for the techno, trance chart column for 4 years.
TRANCE 5000 (Montreal, Canada)
Wrote for Montreal magazine (Different article, charts and Own column).
If you're interested in reading some interview I did with ORBITAL, Miss DJAX and Stefan
Robbers, The Acid Junkies, in '94, and with ROBERT ARMANI.
FOMA NEWS (Montreal, Canada) Top ten, report
FRONTPAGE (Berlin, Germany) Monthly top ten
LOOP (Germany) I wrote record reviews, top ten, interviews.
RAVELINE (Germany) Top ten, report
TEN DANCE (Germany) Top ten
OUT SOON (Belgium) Top Ten
CODA (France) Top Ten