I came to the UK to play in a rock band. I put a band together with a friend I found through a magazine that was around at the time, Melody Maker. We would rehearse maybe two or three times a week. We did probably about 50 gigs in the space of a couple of years. But at the same time, I set up a commercial recording studio at the Barbican. I ran two studios for about five years, until I turned it into a record label. Disco Magic UK. We were exclusively buying, licensing specific tracks from the Italian catalogue and also from French companies, German companies. Already, those tunes, they were piano ones. Towards the end of the ’90s the vinyl market died out. I put the company on hold, and I went to University and got a degree in Commercial Music Production. I was employed by Buxley University, and I was a lecturer there for fifteen years, teaching studio production. When I decided to go back into production, I wanted to make it my unique selling point that I would be using the same equipment that I was using in the ’90s. Using original equipment, you have the individual characteristics and quirks of each individual piece of equipment, all added together to give it the realistic character. The DJs I am selling my records to they never had anything new to play for 20 years. All the new releases were just on digital. I knew that I had an audience for that that I had the market for that. They can see that I have a passion for the style of music they like, and it’s something that at the moment no one else does. If I had to find one word to define what Piano House gives to the listeners, is the word that is used by everyone, it’s uplifting.