Among the bright but relatively little-known Italo Disco artists, Alan Barry holds a special place. Behind this English pseudonym hid an Italian, and his track "Come On, Come On" became one of the standard hits of '80s DJ sets. Here's the artist whose name serious genre lovers know, but who didn't reach the mass recognition of the era's main stars.
An Italian Under an English Name
The artist's real name is Angelo Maria Bertognani. A typical Italian biography - born in Italy, local musical education, work in small clubs and studios. Everything changed when he became part of the Italo Disco industry.
The pseudonym "Alan Barry" was picked by the standard scheme of the era - an English name that sounds international and doesn't trigger specific-nationality associations. That was meant to help the artist work across all European markets without being pinned to an Italian identity.
Come On, Come On: the 1985 Hit
Alan Barry's main hit was 1985's "Come On, Come On." The track got distribution in European clubs, especially in Germany, the Netherlands, Scandinavia. On the charts it didn't dominate, but in dance circles it was well known.
Stylistically, "Come On, Come On" is a classic example of Italo Disco of its era. A signature synth bass, a dance rhythm, a memorable chorus, the typical structure of a pop hit. Nothing revolutionary, but everything executed at a high professional level.
DJ Love
An interesting feature of Alan Barry is that his tracks were especially popular among DJs. "Come On, Come On" was included in sets at varied European clubs. For professional DJs the composition was a find - a good rhythm, a structure friendly to mixing, a driving chorus.
That's a specific niche. DJ hits don't necessarily make the charts but regularly play in clubs for years. It's often through such tracks that the public gets introduced to the genre - not through the radio but on the dance floor.
Other Work
Besides "Come On, Come On," Alan Barry released a series of other singles. Most had limited success but kept the artist active for several years. "I Want to Belong," "Baby," "Real Love" - these compositions today are known only to serious genre collectors.
The problem was common to many Italo Disco artists - the difficulty of repeating the success of a first hit. After "Come On, Come On," Alan Barry worked in the same style but without the same commercial effect.
Working With Labels
Alan Barry worked with several Italian labels. His records came out on Discomagic and other mid-size publishers. That scatter gave some freedom but limited marketing options - no single label focused on promoting him as its main star.
End of the Active Career
By the late '80s Alan Barry's activity dropped noticeably. Like many Italo Disco artists, he couldn't fully move into new genres. His attempts to adapt to Eurodance and other styles didn't lead to significant success.
By the '90s Alan Barry had effectively vanished from public view. For a while it was assumed the artist had entirely left the music industry.
Second Life in the Retro Wave
With the revival of interest in Italo Disco in the 2010s, the name Alan Barry again appeared in the field of attention of genre lovers. Specialists included "Come On, Come On" in their compilations, DJs brought the track back to their sets, collectors looked for original records.
The artist himself also returned to some activity. He took part in several retro events, gave interviews about his '80s career, occasionally recorded new material. It was a modest but pleasant return.
Attitude to His Own Legacy
In recent interviews Alan Barry usually talks about his career with calm realism. He understands he wasn't the genre's main star but one of many artists who worked within it. But he values his contribution and is proud that "Come On, Come On" is still remembered.
That approach is healthier than trying to present yourself as more than you actually were. Alan Barry honestly admits his level of fame and enjoys the recognition he received. That makes him a likeable figure for current genre lovers.
Collector Value
Alan Barry's original records today have moderate collector value. Especially 12-inch "Come On, Come On" singles in good shape are in demand among serious Italo Disco collectors. Prices aren't astronomical, but they're noticeable for a niche market.
That's typical for "mid-tier" artists - their records are available but rare enough to carry collector value. They're a find for those assembling a full genre collection, not just the main hits.
The Sound of the Era
"Come On, Come On" is a good example of how Italo Disco sounded in its "working" form. Not a revolutionary track, not a breakthrough - just quality dance pop of the era, made to a proven formula.
That's its value today. If you want to hear what "average good" Italo Disco was, without big names and special expectations, Alan Barry is an excellent choice. It's pure '80s atmosphere, without extra nuances.
A Place in the Genre's History
Alan Barry holds a modest but solid place in Italo Disco's history. He isn't a pioneer, not a main star, not a symbol of the era. But he's one of many quality professionals who made up the genre's "body." Without such artists, Italo Disco would be much poorer.
It's a reminder that musical genres aren't only a few main names. They're whole ecosystems of hundreds of artists at different levels, each playing their part. Alan Barry played his part competently and conscientiously, leaving behind at least one track that keeps playing across decades.
Recommendation for Listeners
If you want to broaden your knowledge of Italo Disco beyond widely known hits, definitely listen to Alan Barry's "Come On, Come On." The track is available on streaming platforms and YouTube. After that you can explore his other work - it helps you understand how "ordinary" Italo Disco of the era sounded.
It's a way to deepen your acquaintance with the genre. Not every track has to be a masterpiece - there's value in simply listening to good music of its era, made by professionals.
"Come On, Come On" is still part of the standard programming of Italo Nights in Berlin, Warsaw, Prague - in parts of the sets where DJs play the genre's "second tier," not the main hits. That's niche but stable presence: a forty-year-old track keeps working for a professional DJ community that values it precisely for proven reliability rather than for a loud name.