By Jacob Katel
By Karli Evans
By Jose D. Duran
By Pablo Chacon Alvarez
By Kat Bein
By Abel Folgar
By Laurie Charles
"[McDaid] was the singer of a band called Vega4 in the early 2000s," Van Dyk recalls. "This one night, my wife and I were cooking dinner and basically the TV was running in the background. MTV was on and suddenly there was this video and this band playing, and we turned the volume up and listened to it. It was Vega4, the band he was singing with.
"People always ask me: 'What else do you listen to besides electronic music?' And I said [in an interview], 'Well, I found this band that I really, really like that's really, really cool [called Vega4].' That interview ended up in a magazine in Malaysia, and they were on tour in Asia and saw that interview," Van Dyk says. "Then they were a little afraid because they were kind of like, 'OK, there might be some misconception going on. Maybe there's another project going on called Vega4 in the electronic world too?' They called my office to reconfirm, and I said, 'No, no, no, I mean you. I mean the guitar band. I mean the rock band from the UK.' And this is how I met them."
Van Dyk has also had good luck with Jessica Sutta from the Pussycat Dolls, who he met through her manager, Jeff Haddad. And also with American singer Ashley Tomberlin, who had recorded a track called "Amsterdam," under the pseudonym Luminary, that Van Dyk heard.
"I remember I was playing somewhere and she actually came around and said, 'Listen, you just played my track. Thank you,'" he recalls. "I said, 'Well, you have a great voice. We should definitely exchange numbers, and maybe we can work together and make music together.'"
That music became the track "New York City." It, as well as the Jessica Sutta collaboration "White Lies," can be found on Van Dyk's recent career-spanning double-disc Volume: The Best of Paul Van Dyk. Also on the LP is the dance hit "For an Angel," which Van Dyk has reworked nicely — and needfully. "There wouldn't be a re-release of my old material without 'For an Angel,' he says. "So I decided to basically give something new to it, to give the classic 'For an Angel' feel with a new and more modern twist."
The remixed "For an Angel" leads a disc of all Van Dyk originals. Disc 2, in contrast, consists of nothing but his best and "most popular mixes and remixes," he says. There's the aforementioned New Order, of course, and just about everything you can think of since, including U2's "Elevation," Depeche Mode's "Martyr," Justin Timberlake's "What Goes Around.../...Comes Around," and Britney Spears's "Gimme More."
Taken as a whole, Volume truly is the mark of an illustrious man of music. But what's perhaps most amazing is that Van Dyk now has such a vast catalogue he could do an entire evening of his own tracks and still keep the floor packed and dancing. Naturally, Van Dyk, master turntablist and worldwide phenomenon, wouldn't do such a thing, not with so many beats to break. Besides, how would he keep his spot atop everybody's hit list?
At Space this Saturday, expect to hear the complete Paul Van Dyk. But expect to hear a whole lot more as well. Most important, expect to not stop dancing till Sunday afternoon comes down and you've marked another riotous evening with a DJ legend.