In his biography, Muska comments on the break with Danny

Muska Babitzin saw early on how the music would grab the older brothers, Sammyn and Kirkan, with him.

It was clear Wait a minute with a star and a teen idol. Enthusiastic fans admired Kirk’s home address and waited for it in the stairwell or crouched under the windows of the family’s apartment. When they saw Kirk, they rushed to him, touching him, or tearing a piece of cloth from his shirt in memory.

The teacher asked Muska to bring her brother to a single for music lessons. The girls were immediately attacked by Muska and begged him to meet Kirka.

Kirka collaborated Dannyn with, and this also interested in the good-sounding sister-Babitzin.

Muska suspected when Danny invited him to a meeting. Kirka and Danny had to persuade for a long time before Muska gave up and agreed to take their brother on tour.

She was only 18 years old, but many other female artists had started at a young age. Laila Kinnunen toured at the age of 16 and Marion Rung represented Finland at the Eurovision Song Contest at the same age.

However, Kirk was an absolute star on the tour. Musk’s voice still had the same brute force, aggression, attitude, and rough edge as Kirk.

Muska’s schooling was interrupted when the exam did not become anything. With the experience he gained on the summer tour, he went on tour with Danny in the fall of 1970.

The first single

The gig with Danny continued until the spring of 1971. Muska sang backgrounds and also performed a few of his own songs.

Through D-production, Muska was also offered the opportunity to make his first single.

Kirka had recorded the Dutch hit Shocking Blue in 1970 Venusand Muska chose the first international hit of the same band Send Me a Postcardin from 1968.

Muska showed his skeptics that there was more than just Kirk’s little sister.

He was attached to Danny’s Wolf Moment summer show. The goal of the D production was to make Musk a good rock mimic.

Hande

Muska met his future life partner Hannu Salakan ie with Handen for the first time in 1971, when his band Orpheus performed at Helsinki’s old student house.

When members of Orpheus heard Musk’s harsh interpretation of the Write to Postcard song, they decided to offer him a soloist’s wash. Muska agreed.

Musk’s fascination with Hand was strengthened during the work. He felt like he had met a like-minded person. The fascination grew into falling in love, but this was not viewed well in the D-production that was responsible for Orpheus ’gigs.

The young woman was in the crossfire of three men: the father still wanted to keep an eye on his daughter and patted him to study; Danny wanted to make him the equivalent of Katri Helena; Hande, on the other hand, appealed to both his feelings and his musical preferences.

Muska himself just wanted to be happy – sing rock and live in the moment and enjoy youth and a new relationship.

He refused the path offered by D-production and slipped into his father’s patronage by moving in with Hand.

Dispute

The relationship between Muska and Handen became even closer. At the same time, Muska & Orpheus stopped playing full-length sets. The performances focused on the weekends and there were often two gigs during the same evening.

The socializing was much more relevant to Muska than the plans drawn up by the program office. The new set-up surprised Danny, who talks about taking over in Musk’s recent biography:

– I had found myself to be Muska’s manager because I handled his affairs in the same way as Kirkank’s affairs, ie I sold gigs and paid my salary.

– When Kala-Hande came into the picture, he made it clear that he was a negotiating party and an advisor to Muska. I didn’t want Kala-Hande to lead the artistic line.

Hande did not appreciate the world represented by D-production – the star cult and the flamboyant show programs built around the artist.

Rebel Muska also refused to give Danny a leash.

– Danny and producer size Jaakko Salo thought of an album for me and offered some miraculous covers – at the time, little was done other than covers. I dared to say no. As a result, my recordings took a long break, Muska says in the book.

In addition to the music played at the gigs, the controversy with D-production was caused by money. D-production took its own commission from the gig commissions, which in the case of Muska was the highest, as much as 30 percent.

In addition, he paid for the car rides and accommodation himself. Muska felt he was receiving an unfair undercompensation for his work, but D-Production thought he was paying his band too generously.

According to Hande, the band’s fees did not deviate from normal.

For your own roads

At the same time, members of Orpheus had begun to reflect on their musical future in a band that the program office sold mostly to dance venues.

In the spring of 1972, Muska & Orfeus still performed at the Tavastia Club, after which Hande and Muska stayed together, but the rest of the band went their separate ways.

In the fall of 1972, Muska and Hande announced their departure from D-production. From now on, Hande would take care of selling gigs, making contracts and playing in the Muska band as before.

Founded by Muska & Hot Dogs.

The 1974 Eurovision Song Contest was the last time Danny collaborated with Muska:

– We said we have a different audience than they do. Muska was an infinitely jovial and flexible, pleasant and warm-hearted person in every way.

– I would have liked him to stay with me, Danny describes Muska in a recent biography.

Muska also considered Danny a good guy, but marveled at the newspaper articles from the D production.

– For the whole D-production team, Hande was the beginning and root of all evil, which was used to make all kinds of shit, Muska refers to articles in the Favorite magazine.

Sauli Miettinen: Muska (Like) appeared on June 15.