France, Italy, Austria, Germany quite precisely thirty years ago, one electronic track turned theEuropean music charts upside down: Electrica Salsa by the Frankfurt project OFF a collectiveproducing their tracks at Master Music Studio. The founders of Organisation For Fun were nounderdogs: Michael Munzing and Luca Anzilotti would go on as duo SNAP! And write global hits likeThe Power or Rhythm Is A Dancer, writing pop history. And the third member of OFF was then 21-year-old Sven Väth, today one the most notorious international DJs. Michael and Luca were themasters of equipment, responsible for the mixing desk and the recording tape we used to make themaster tapes. Ich was the one providing song ideas, grooves and bringing a good mood to the studio.In the summer of 1986, House Music was mainly a thing at black Clubs in Chicago. Detroit Techno(and the Berlin scene) was still in the making. Electrica Salsa prompted a new feel in pop culture,adopting modern techniques like the use of sound samples driven by a unique beat, creating whatwould be called Balearic-Fusion. It included everything from digital Underground up to the LoveParade. Frankfurt and the Rhein-Main area experienced an era of departure and pioneering spirit.There were really great sound systems at clubs and the Dorian Gray at Frankfurt Airport was one ofthe best in the country. They didnt have closing hours; people would party on until midday. They camefrom all over Germany. The area produced a great number of projects: Moskwa TV, Bigod 21,16 Bit,Off, Moses P, Abfahrt, Dance to Trance, Snap, PCP, Earth Nation to name just a few.Around the turn of the year 1985/86 we were quite productive getting the maximum out of our newstudio. All three of us were working as DJs on a regular basis and we got together to elaborate ourideas for new stuff, Sven Väth remembers. The predecessor project had been named 16 Bit, it wasMichaels and Lucas baby. OFF happened quite naturally as we were trying out some things at thestudio. We had a concrete 4/4 bass drum playing and the other two were experimenting on the bass.So I went over to the microphone and tried out some word and syllable sounds. Somehow my lipsformed Electrica Salsa and then Ba Ba Ba. It got everything started; ideas just flowed after that. Sowe added Trumpets and Timbales that I recorded live. I didnt really know anything about percussion but I loved playing around with rhythms. So I got myself a high-end professional percussion set. Thethick boom sound on the other hand is a sample from a Mercedes S 500 door being slammed!The spontaneous session produced a powerfully anarchic song mastered on a 24-track tape that gotall three musicians euphoric. I was most happy about the great success we had with Electrica Salsain Ibiza and Italy, where we actually made number one, Väth recollects. Ibiza was the greatestsource of inspiration. We flew down there every year in the eighties; the Island really had a stronginfluence on us with its eclectic sounds at the times. The Balearic Sound was a mix of Italo Disco,Wave, Funk and African Percussion. We wanted to become part of it and I still am today! Thirtyyears on that fire is still glowing and thats the reason why we released new mixes: They are a gift tomy fans that have been accompanying me for such a long time.The track Electrica Salsa is a cornerstone of Techno history, receiving a 2016 makeover so itssuccessor generation gets something of its own to dance on. Roman Flugel is a friend and estimatedcolleague of mine and he created a really smart version of the track. Im convinced that many peoplewill be surprised by his remix. Henrik Schwarz on the other hand actually invited a brass combo to thestudio and recorded them with strings and latin bass which makes a great modern version; as Väthdescribes the 2016 studio productions.Väth concludes: I can only add that I am extremely happy to have been part of this project. Its aclassic, after all!