Europe's Stars of '80s Dance Pop Vol. 2 - 33 International Hitmakers Discuss Their Careers

Foreword

by Sandy Marton

“People From Ibiza” (1984)

Italy

It took some time to secure commentary for this project from the elusive Sandy Marton (Aleksandar Marton), creator and performer of one of the ’80s’ most iconic Italian dance music hits, “People From Ibiza.” Turns out, he’s not a big fan of interviews and doesn’t actively pursue the spotlight some 34 years after his signature dance song became a world sensation. Still, he has a sense of humor about his low profile and knows there’s no escaping the fact that he is considered by many to be one of the most significant and memorable contributors to the era’s international dance-pop and Italo-disco music legacy. And he continues to perform his hits for enthusiastic audiences today.

Marton’s celebration of Ibiza, then Europe’s burgeoning island getaway for summer fun and “dancing in the sand,” debuted on the Eurotipsheet trade magazine’s European Hot 100 singles chart at number 83 in mid-September of 1984, just as Laura Branigan, Frankie Goes To Hollywood and Alphaville were topping the survey. “People From Ibiza” was soon number one on the magazine’s cross-over chart (no doubt helped by throngs of summer tourists who’d heard the song in the clubs and, upon returning to their home countries, demanded the record from retailers). The track was a smash in Italy and rapidly climbed the singles charts of Germany, Austria, Switzerland and the Netherlands. The song also received significant import play in the US and in British clubs. By October, it was a top 40 sensation, making an impression on Eurotipsheet’s survey for a hefty 13 weeks.

“One of the first times a record production by a radio gang became an international smash,” said Eurotipsheet of Sandy’s hit single, no doubt referring to the singer’s powerful support system. Aligned with producer Claudio Cecchetto (Sabrina, Taffy, Tracy Spencer, P4F), the producer’s enclave of radio and TV interests, and his label, Ibiza Records, Marton formed his own production entity (Marton Corporation, based in Milan) and released a string of evocative, thoughtful and highly successful follow-ups to his Ibiza classic. The enchanting “Camel By Camel” in 1985, big crossover hit “Exotic And Erotic” (which spent 11 weeks on Music & Media’s Hot 100 in the summer of ’86 and was also given a US release), and the gentler “Modern Lovers” (1986) beautifully melded irresistible melodies, hypnotic beats and memorable story lines with Marton’s accented and beguiling vocals. After a stellar run throughout a large portion of the decade, and marked by the release of his final ’80s single, “La Paloma Blanca,” this talented and captivating artist, with long, sun-kissed blonde hair, largely withdrew from the international pop music scene.

As dolphins swim in the peaceful Mediterranean waters outside his present-day home in—yes, Ibiza—Sandy is coaxed to share a few memories and observations about the era and his experience as one of Italy’s most beloved dance music innovators.

I was born in Croatia, and my mother had me study piano from the time I was seven years old until I was 17. I went to school and studied to be a musician. After serving in the army, I went to study design in Milan when I was 20. I was going out at night and met music producer Claudio Cecchetto. I remember he told me I looked good and we should make a record. He told me we were going to have a great future in music together. From that moment on, he believed in me 100 percent! This was truly my good luck. He didn’t even know if I was able to sing or play music. Claudio bought me a little four-track recorder and a keyboard. We made our first single together [under the name M-Basic], a mostly instrumental track called “OK. Run.” It wasn’t originally a “Sandy Marton” record; I just put my face on it. It did really well. After that, he asked me what we would do next. I suggested he let me try writing a song.

I had been in Ibiza since 1980. One night, I was in a bar—the only bar in Ibiza at the time. Nina Hagen and her boyfriend were walking around; everyone was looking so beautiful. I thought to myself, these are people from Ibiza! Then a girl came up to me and gave me a bracelet. It was one of those cloth bracelets with three knots in it, and it had the words “Gente de Ibiza” on it. That’s where I got the name of the song. I stole a sequencer from somebody, and, with that in mind, I created the track “People From Ibiza.” Claudio liked it a lot, and we recorded it for real. I had never sung before that record. It just happened! I think people throughout Europe responded so well it because it was simply a good song. It would be very difficult to make another song like it.

I was extremely happy when “People From Ibiza” started climbing the charts. I was even happier when the money from the song rights arrived! It was in Italian lire, I remember. The first check arrived, and I was so excited that I had thought I made [the equivalent of] 8,000 Euros. But, actually, it was 80,000 Euros. It was great!

I guess I was a bit ahead of some other artists by forming Marton Corporation. We spent a lot of money on our productions—maybe three times more than other Italian artists in those days. They were making songs in three days, where it would take us three weeks. Perhaps that’s why our productions sounded so good. That’s one of the things I liked about Claudio Cecchetto. He would ask me what I needed to make a new record, and I’d say I want this studio, this equipment, etc., etc. He was really good about fulfilling that. I was able to handle about 60 percent of the production work for any of our songs, but the other 40 percent required top-line professionals—musicians, arrangers and people like that. We had them all.

I didn’t feel any pressure to come up with the other hits, like “Camel By Camel” or “Exotic And Erotic.” Actually, after “People From Ibiza,” I didn’t want to make any more records. I was just so happy to have made some money, I didn’t want to do anything more. Claudio came to me and said don’t be stupid—come on—we have to do it again. Even so, I never felt pressure—not ever in my life—but we came up with some good ones. I know it may sound crazy, but I hated Italo-disco back in those days. There was some great Italian music in the ’80s, but I just didn’t like Italo-disco very much—the music of Den Harrow and things like that. To me, they sounded like they were making songs in one afternoon. (In the beginning, I was making other types of music, like hard rock, but Claudio said I needed to stop doing that and make dance music.) Well, eventually I did grow to like [the genre]. But I wanted my music to be a lot more sophisticated than the typical Italian dance music that was popular. This was probably because I was a musician, not just a pop singer. Others were making songs just to be hits, and I was making my songs—the music I wanted to make.

As the ’80s came to an end, I started to feel uncomfortable. It seemed to me that when the ’90s came along, the music was all beats, no songs. And to be very honest, I never really wanted to be a pop star. I never even liked to dance. I’m very tall, and dancing for tall guys is not a great thing. I told Claudio that it was enough, and I moved to Paris—and spent all my money. (Don’t worry—I made it back again.)

I live in Ibiza today, and the place is unbelievable. It’s like the Vegas of DJs now. It’s absolutely the opposite of what I sang about in “People From Ibiza,” the way it was back then. As for pop music today, it’s okay. There’re some good songs out there with melodies and good voices I like, like Beyoncé. It’s a different world today, but not just in music—with things like terrorism and all our problems—that’s why I live in Ibiza. Drugs are the only thing that will kill you here.

I am never nostalgic about the ’80s. But looking back, the ’80s was such a funny and ridiculous time, and it was a good period for music. We may have looked silly with all our hair and outfits, but the music was extremely good—especially artists like the Thompson Twins and Duran Duran. (I guess I favored the English sound.) But we made good music in Italy, too. Italians were a very happy people, and it was a happy time.

Still, it was just one period in my life. I left all that when I had enough of it. I just live my life today. I don’t give a shit about being famous. I’m a bit lazy, you see. If you want to be famous, you have to work like a dog. I still do a few shows in Italy, maybe twice a month. It’s funny, people still go crazy when I perform—people in their 40s and 50s. Some ask to take pictures with me—I think I am more like a souvenir of the ’80s than a star.

I’m very proud to be a part of this book and honored that my work is being recognized in it. I am proud of the music I created, too, but, you know, the world goes on. And actually, I am happier now than I ever was in those days. I have a nice house in front of the sea, a great...