He's certainly one of the most enigmatic figures of the early Numa Records period, a strong personality, a savvy lyricist, and a musically creative force that impressed everyone at Rocket City Studios, including Gary Numan. His name is Dominik Taitt, and while you may recognize his last name among the credits of the NUM 3 single, "King," you probably never knew that he was largely responsible for the writing of the single and the signing of the band Hohokam to Numa Records. In fact, he even came very close to establishing his own solo career as another artist on the Numa Records label! His abrupt disappearance from the scene spawned numerous rumors that left in their wake a persistent air of mystery. Now forty-two years old and, rather less mysteriously, residing in Wimbledon, UK, where he and his wife are raising their three-year-old son Samuel, Dominik Taitt has both owned and directed a variety of information technology businesses during the last twenty years--which perhaps should come as no shock to the readers given his deep and abiding interest in all things technological from an early age . . . including music. By the time Taitt had mucked his way out of the seventies and capped off his adolescence, he had already become drawn to the techno ingenuity of such groups as Human League and the ubiquitous Kraftwerk. He even enjoyed a penchant for showing up at the start of some successful musical careers: he recalls fondly having seen Depeche Mode in 1980 gigging in pubs with only twenty or so people in attendance. Such groups played a formative role in his songwriting sensibility and fueled his creative engines well into the 80s, until he exchanged a synth keyboard in 1986 for a computer keyboard and pursued a long and successful career in IT. His passion for the synth, however, remains eternal, even if somewhat unrequited. He explains, "[I] still have all the analogue synths of the 1979-85 era in an office at work. We have an eighteen-piece Spawn drum kit set up in the office; we are a computer company but there are amps and synths and gear all over the shop." Although today, in 2006, Dominik Taitt is embracing midlife with the dignity of a stable marriage, a family and an ensconced business, there was a time when he might have walked a different path once tread by his musical heroes. At one time a member of Volt7, a four-piece band capitalizing on a single drum machine and four synthesizers, Taitt performed a first and only gig at Wimbledon in September of 1982 to a sold-out audience. Among Volt7's members were Mike O'Connor and John Watson, the latter of which introduced Taitt to George Kamm some months later. While the names would change, this musical line-up of three synth keyboards and a drum machine would become the proven formula that would later win another band, Intermission, its first record contract before it changed its name to Hohokam. But where was Dominik Taitt when that happened? What were Taitt's close ties to Hohokam and why did he not sign with them to Numa Records? Dom now steps forward for the first time in over twenty years to tell us in his own words about his memories of Hohokam and George Kamm, his involvement at Numa Records, and the putative solo career that almost was.
TOPICS
banding together	I know this feeling ain't mutual
the line-up	moving on
king of a heartless tribe	in a family way
absolution	the music scene
the numa single	what's in the cd player?
rumors of war	achievement
going solo	grazie
Dom, who were Hohokam and how did you come to know them? I had known Steve Murtagh [a.k.a. Steve Devier] for years through my older brother Phil. Steve was and is Philip's best mate. . . . Living in Cambribge, UK I used to record in a shed in my parents' back garden and I tried Steve on vocals just for fun. I met Tony Edwards--can't remember how now. Might have been through selling some music gear on Loot or Melody Maker or something. Anyway, we used to rehearse in a rehearsal studios about once a week. The line-up was: Steve [Devier] on vocals; Dom Taitt (me) performing mono synths (Roland SH101; Moog Rogue; Roland TR606 drum machine used to trigger the bass drum off Tony's Simmons kit); Tony [Alum] Edwards on his Simmons drums; and George [Kamm] Grimes doing keyboards (I think). I was the common link between all of them and they initially only knew each other through me. I met George through a talented musician I really respected, Robert Holmes, and another musician, John Watkins (Volt7 synth player). Can you say a little bit more about George? He used to play a bit of guitar, but I think I banned that. I'm not sure how George got involved in the band but I must have asked him 'cos he was my contact. He must have just "wanted" his way in. He was always into the music though. I remember seeing him in 1990 and he said that I was doing acid house in 1982 before anyone had even had a name for it. Never knew that George was into the Indian thing so much either, but we did used to swap and share leather jackets. He had my white padded job and I had his really cool leopard skin jacket. George was easily the coolest in the band. Like I say, I can't quite remember how Tony and I met but I know he had a Simmons drum kit and I thought that was awesome. I was 19 or 20 at the time. I probably met Tony through buying or selling some music gear in the small ads and got friendly with him. Tony and I linked up well. I liked Tony and his brother a lot; they were really funny and a good laugh. We had a lot of fun and I remember some good parties.
I never met Dave Scrace [a.k.a., Dave Earl]. I think he was one of George's buddies. Anyway, I was the songwriter and the initial band core was really me and Tony. That was the basis of it at that time. We never had a name. I think "Intermission" was just a working title and I think it was Tony's idea for the name. Definitely not mine. . . . The four of us recorded a demo of three tracks late 1983 or early 1984 in Tolworth, Surrey. A two-day session in an 8- or 16-track small studio in the basement of a Victorian house. The first track was called "King of a Heartless Tribe"--my title and nothing to do with Indians. In fact, it was nothing to do about anything. I think Tony wrote the third verse. Not sure. [Editor's Note: George Kamm wrote the music and lyrics for one of the other demo tracks.] "King" got released as the single pretty much as the demo. The bassline and lead line (which I'm quite proud of) is the same as the single. Numa basically just released the demo. I think I wrote all the tracks on the demo, not sure. "King" I wrote all the music and ninety percent of the lyrics: ninety-five percent my song. They didn't even re-record Steve's vocals!!! . . . I bet Tony has still got that original demo. How did you feel about the demo? I thought the demo was OK, nothing special. Didn't play it to anyone and thought it could be done better. I don't ever remember disbanding, having an argument or falling out with anyone. I just thought we were having a hiatus after recording and then through. I certainly had no great ambitions for the band. I do remember telling Tony that I didn't think much of the demo. A few months pass and I get to hear that Tony, George and Steve have or are recording "King" with Numan. And they want to record "King" and I think they need my permission. I hadn't heard from the band members at the time and I'm being kept well out of the loop. I hadn't attempted to send the demo anywhere due to me thinking it was not good enough.
You can imagine I was a bit surprised. Me not thinking anything of the demo and Tony and a mate had bunged it through Numan's letterbox. [laughter] You've got to laugh: one demo, one listen, signed! Simple as that. What are the chances of that? I was indirectly the link that started Numa! [laughter] But I wasn't really into Numan as much as Tony, his brother and friends so I supposed they (the band) wanted to keep the initiative they gained and thought, He (I) doesn't even like the tracks, he's not into Numan, he's too controlling in the studio. Exclude him. Problem was that it wasn't really their music that they were sticking through the letterbox and it's wrong to take credit for someone else's writing. Strictly speaking I should have got sole writing credits for "King." I was kept in the dark about everything. I never saw or spoke to the band. They never consulted me. I think I had to hear through a third party, I think my brother, that I should contact Numa because they wanted to release the track and they needed my consent. So up until the track came out I had minimal or no contact with the band. I think Tony wanted to take control where I was very much the controlling influence before that. I was more disappointed in Tony keeping me out of the loop than anything else. He probably thought it was easier not to tell me, but I considered him a good mate. Why were you so forgiving? Ultimately I was and am very glad the track was released. I do remember very much enjoying the PRS royalty cheques when they came through the post a year or two later. However small the cheques were they were still satisfying to receive. Of course I was not at all happy initially but that feeling was quickly tempered by the fact that Gary Numan liked the track and wanted to put it out as a single. It was a kind of compliment. I thought Numan was doing us all a favour by being involved. I had put the tracks behind me, so anything at all was a welcome bonus. The boys were being signed on what was probably a tiny deal on an independent label. Legal action would have been pointless. I mean, who else would have released it? No one. If they were getting a big deal at a major label I would have felt a lot more resentful. That doesn't mean that what the others did wasn't wrong but at least they had the nouse [i.e., the know-how] to put the tape through the door. At least the track is preserved in vinyl and we are talking about it 22 years later. I always wondered why Tony wanted to keep the master tape from that session. (Ha ha!) I was a bit embarrassed by the demos and didn't play them after the session at all. Didn't think they were up to scratch, otherwise I (we) would have pursued record companies. So, you were, more ore less, friends with them during that early period they were signed to Numa? No, not friends, but was eventually on talking terms with Tony then Steve. I didn't come across George in that time. I am secretly proud of them (HoHoKam) and their latter success. A little bit of reflected glory. You recently bought the 7" of the "King" single for your music collection. How did you react to the release of the "King" single initially? I was half gutted and half chuffed that someone had liked my song, the mad fools. I met Gary Numan and his manager, signed off a sort of permission disclaimer for "King," and I think they paid me a few quid, maybe £2000 ($3500). George's "American Way" is a mighty song which I had never heard a note of when I was with the boys. I had absolutely zero percent input into it, whereas "King" is in writing terms ninety-five percent my song. The two sides I feel are totally different apart from Steve's vocals. I suppose that is what makes the release such an interesting record. Two cracking but contrasting sides, A and B. George was really into the heavy Gothic indie bands like Southern Death Cult and that influence is clear on "American Way," whereas I was/am a huge synth/electro-pop merchant and that is where I was coming from on "King." Well, George, you wrote a fine record there, boy. I imagine the name HoHoKam was initially his idea as probably most of the imagery of the "King" cover art. I was well out of the picture at that stage and had nothing to do with the artwork or band name. All I did was write "King." I received a couple of small royalty cheques for "King" for the PRS (Performing Rights Society). After that, I never had much to do with the boys, but I do remember going round to Tony's house and heard the demo of their next single "Harlequin Tears." I saw Hohokam on the Berserker tour at Hammersmith Odeon. I bumped into Tony Edwards in a record shop circa 1989. There's a long standing rumour that you and Numa Records were at loggerheads about a possible contract to showcase you as a solo artist, and that this lead to a huge falling out with the Webbs. Care to set the record straight? At that time [1984] I was 20 and I was working full time managing a retail computer shop in Wimbledon Village, London. I had a steady girlfriend and was having fun being 20. I was having a good time. Artistically it was me and the TR-606 drum machine, the Roland SH101 and my new Oscar synth at that time. I was writing and riffing down in the brick shed at the end of my Dad's garden. No gigs that year. I met Gary Numan a couple of times in 1984. He seemed fine. Not pretentious or arrogant in any way. He had such a bad press at that time in the UK from the left wing music papers that I almost felt sorry for him. He had to endure a lot of stick from the press for years that was so unfair and he never got the respect and credit he deserved until a decade and a bit later. They had it in for him because of his right of centre politics and nothing else. I met his Dad and he seemed just like any normal suburban dad in the music industry. He was fine. I had no real relationship with them because all our dealings were so brief. There was only minimal discussion on a contractual level, hardly any at an artistic level and some brief small talk. I think Gary had quite a striking blonde girlfriend at the time but can't really remember. They had a good pool table at Rock city and "Spitting Image" was on TV in the recreational area. It was a Sunday. However, I didn't fall out with Numan, and never threatened to sue. I just went along for the ride and accepted the situation. They never signed me. They said they were interested but I don't think NUMA were really serious in signing me. I think it was a sop to placate me. They asked me in to Rock City to record "I Know This Feeling Ain't Mutual," a single demo that I thought was much better than "King." Heard now't for a couple of weeks, then heard that Gary was "enamoured" with it. Then heard nothing. No invites in to critique the track and no follow up. Dead end. That's not what I call a real interest but then I had no band, no act and no real image at that time. Were you interested in pursuing this objective with Numa? Yes! What about with other labels, after Numa lost interest? In 1984 I was having quite a full life away from music. I'd record and riff in the small studio at home but not gigging or sending demos. In '85 I was working on tracks with Kevin Sweeney (brother of Classix Nouveux bass player Mick Sweeney). We sent a demo of a friend's (Tony Watson---The Lonely Boys/Little Bo Bitch) track called "Information" and MCA were interested; we went to see them and they wanted to hear more but we were not forthcoming. Not my songs, so I wasn't really too bothered. Can you tell me more about your demo, "I Know This Feeling Ain't Mutual"? What did you hope to achieve artistically in the song? To get signed by Numa. Errrr....It was a bit of a one-off attempt to impress Numa after they asked me in. It was the best thing I was working on when the sh!t hit the fan. I thought it was a better track than "King of a Heartless Tribe" (the original title of "King"). As for song content, I always wrote using the sound of the words--and hang the meaning!--so the lyrics are always open to interpretation. But the chorus was about unrequited love: "I know this feeling ain't mutual./ You're my celebration." The song was about the same tempo as "King," about 132 b.p.m., the bass line done on an Oscar synth was a killer, octaved 16ths and there were lots a dual oscillator sawtooth lead line lines on it, like the opening synth hook line on "King" (which I think is the highlight on "King"). Tell you what Karl, if I don't find the demo I'll re-record it some time, just for your site. I know the bass line, the lead line and the chorus vocal. That's an amazing offer, Dom. Send that my way any time you feel like it and I'll make it an exclusive feature for the site. Deal? So, after the "Mutual" demo fell through with Numa, what sorts of musical projects did you engage in between 1983 and 1986? I collaborated with many people in that period. 1985 worked with Kevin Sweeney. 1986 played with two local brothers Pat and Sean Kennedy in their synth band Primo, Primo. The favourite gigs I did was with Mick O'Connor in 1982, the first incarnation of Volt7, and with Dec Duplex with Paul Ludgrove in 1983. In those gigs in was just two guys, a Drum Machine, a bass mono synth and a screaming lead mono synth. Just a raw, electronic, pure synth sound. Simple but powerful. Totally live and really easy to set up. Just get the synths in tune, hit start on the drum machine and hang on. I was all about analoque synths and analoque drum machines, still am. I want to re-create that live sound again. Between 1987 and 1989 I was in a three-piece called Sly Wide: Bob Salmasi on guitar, Bruce Jenner on vocals. A bit more conventional, commercial pop. Less analogue. We played Hammersmith Palais, had a manager, but, again, never sent any demos off. Had a lot of fun recording with Sly Wide in BB studios in Kingston, Surrey. Bob and Bruce were very funny. And a decade after that, you settled down and started a family. Say a word about that. The engagement was scary, a lot of admin, but the Stag was fun and the day went well. Very relieved when the wedding was all over, then I could relax. It was that damned fear of public speaking but I did all right in the end. My son, Samuel, is now "toot and a half" (i.e., two and a half] and he already likes putting on headphones and playing the "Piano" (my two octave Novation synth). His favourites are Paul Weller's "From The Floorboards Up" and Roby Lakatos. He's a lovely boy, he's healthy and he's very funny and cute. I just need to get him to bed earlier. Clearly, you've embraced a wide range of music over the years. What's your opinion, then and now, of the music scene? Music scene then? Great. I loved the whole post punk and new romantic era from 1978 to 1983. So many real bands with big hair and eye liner. Dodgy clothes, brilliant. I was a big new romantic / Futurist--from Bauhaus, Killing Joke and Magazine to Caberet Voltaite, DAF and Ultravox. Loved it. Thought Phil Oakey and early Human League were the dogs. I preferred the pre-Dare early Human League stuff--"Being Boiled," etc. Too many favourite bands to mention. All the bands used to have an image, a style, a uniform. Now, it's anything goes--not much style. Nearly all the best music seems to have been done already. Every twelve years there will be a Bee Gees or Cat Stevens cover and that generation will think it is the original version. Listen to the current hit by Rhianna, "SOS Rescue Me". It's the Soft Cell "Tainted Love" sampled backing track but it sounds great. "Tainted Love" by Soft Cell was itself a cover of the 1964 version by Gloria Jones (a great record, check out her version). I had never heard the Gloria Jones version until about four years ago. I thought the Soft Cell version was the original. See? Music always recycling itself. Of course, I despise Boyzone, Westlife and all the other manufactured crap out there. Also, I hate whatever they call R'n'B these days. I don't much care for that new fangled Hip Hop stuff either. However, in the Top 40 there will always be one or two records I really like, about the same ratio as when I first started listening to the charts in 1973. These days it's retro everything. Look at the Artic Monkeys, Dance Floor. Awesome single but that's all retro. Do I sound enough like my Dad now? Who then are you listening to these days? What kind of music appeals to you now? Well, Iike a lot of people I listen to a lot of genres. Whatever's good. Current favourites are Queens of the Stone Age, Roby Lakatos, and Super Furry Animals, but I will always listen to Kraftwerk, Human League, etc., but in the car CD changer right now is: Monochrome Set--Eligible Batchelors (1982). This is an early 80's, very English and quirky light pop guitar band. Commodores--"Brick House" (1977). Funk track Roby Lakatos--Live from Budapest (1998). Gypsy, Jazz, Classical--the world's fastest violinist (amazing!) Paul Weller--As Is Now (2005). latest Lp 12"/80s Volume 2 (2005). an 80's compilation of 12" singles. My favorite tracks on it: "When Smokey Sings" (ABC, 1987, Mercury Records) and "Party Fears Two" (The Associates, 1982, Beggars Banquet). Outkast--SpeakerBoxxx/The Love Below (2003) It evolves. I'd say the past twenty-three years have evolved, too. You have some real achievements to your credit. Which would you say is your greatest? And, what's your greatest disappointment? Achievement: Getting 175,000 on the original Gameboy Tetris. Disappointment: Still playing the original Gameboy Tetris. What would you most like to say about yourself, for the record? Volt7 are famous? How about any final remarks for our readers who are aspiring songwriters and musicians? I don't really feel qualified but ... Don't be influenced by peers or fashion not to write the music you really feel you want to. If you have talent but no ambition, get someone else to push you along, get heard. If you can, get a good singer, they don't grow on trees. Don't throw away any old demo recordings, ever. You may need them one day. I've rambled on enough. Thanks Karl for the interest in the NUMA roster and your excellent site. Good luck to Tony and Steve out there. I'd also like to send my commiserations to George's family. Dom, thanks for taking the time to offer up such a fantastic interview. You've really helped to explain the mysteries behind the "King" single, and I think people now will finally be able to give you the respect you're rightfully due for the excellent song that you wrote.
PLEASE BE SURE TO RETURN TO THE HOHOKAM LOBBY AND VISIT THE OTHER NUM 3 TRIBUTE FEATURES, ESPECIALLY THE GEORGE KAMM MEMORIAL SCRAPBOOK. LOOK FOR PERIODIC UPDATES TO THIS DOMINIK TAITT INTERVIEW THAT WILL INCLUDE, AMONG OTHER THINGS, THE DEMO "KING OF A HEARTLESS TRIBE" AND "I KNOW THIS FEELING AIN'T MUTUAL." COMING SOON! © 2006 Karl J. Sherlock