CLASSIC HOUSE TRIBUTE MIX: RIP Darryl Pandy & Kenny Hawkes: A Tribute Mix for NOICE!


Acapella (song)

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Darryl Pandy & Kenny Hawkes Tribute Mix for NOICE! (Episode 231)

Tracklist:
01. Nightlife – Kenny Hawkes & David Parr Remix – Skat
02. Bad Enough Acapella feat. Darryl Pandy – CZR
03. Play The Game (Extended Mix) – Kenny Hawkes, Louis Carver
04. Joy (Nightcruiserz Mix) – Darryl Pandy, Dutch Johnson
05. Love Is What You Need feat. Darryl Pandy – The Pussy Gourmets
06. Why – Kenny Hawkes, David Parr
07. Gemini – Kenny Hawkes, David Parr
08. Love Can’t Turn Around (Houseappella Mix) – Darryl Pandy
09. The Boobytrap (Serge Santiago Remix) – Kenny Hawkes
10. Undagroundiscofunk feat. Darryl Pandy (Rmx Remix) – CZR
11. Human Race (Electric Press Mix) – Kenny Hawkes, David Parr
12. Sleaze Walking (Rob Mello Edit) – Kenny Hawkes
13. Feel It/Playing No More Games (PNut Edit) – Darryl Pandy, Nerio, John Spring
14. Bad Enough feat. Darryl Pandy – CZR
15. Big Fun (Kenny Hawkes Remake) – Inner City

Ce Ce Rogers – Someday ( Club Mix )


 

Originally released in 1987, “Someday” was an inspired collaboration between the raw driving house sound of Chicago legend Marshall Jefferson and the sweet, hauntingly soulful voice of CeCe Rogers. The result was the creation of a powerful political message highlighting the need for racial harmony in apartheid South Africa. The popularity of this beautiful piece of music has seen it ranked number 3 in MixMags‘s 100 Greatest Singles of All Time.

 

 

 

 

Track Of The Weekend #4: James Brown – Give It Up Or Turnit Loose Played By Alton Miller (Music Institute Detroit) at Our House Presents Alton Miller, (Sun April 24th)


Hats off to THE  MAN Alton Miller for closing his set last night in Sydney with this classic B-Boy FUNK gem. Played as the closing track at Our House Sydney presents ALTON MILLER (DETROIT, USA) Sunday April 24th.

And big love to Our House Sydney and everyone else who helped put the night on, it was so good to see some real HOUSE music being played in Sydney again.

Also special thanks to Rod all the dancers for creating such a good vibe on the floor.  Get in touch with Rod for all up coming HOUSE dance classes around Sydney at Ace Dance Studio, Crossover studios & Dancekool.

Original Release Info:

Label: King Records

Year: 1969

DEEP HOUSE,DISCO: A journey into the last 20 years of House Music Feat. Alton Miller (Music Institute, Detroit)


Legendary Detroit producer/dj and House music forefather Alton Miller will be playing a special show this Sunday (April 24) to celebrate the 20th anniversary of the famed Detroit club, The Music Institute and show exactly what  HOUSE music means to him. Expect him to touch on plenty of his inspirations and records that shaped the way he listens, plays and produces his music.

If you are keen to hear what the man has to say about music, he will be appearing live on Sydney’s weekly REAL music lesson ‘Departure Lounge’ with Trevor Parkee on 2SER 107.3 FM this Saturday between 3-5pm. He will also be doing a guest spot on our man Joe Stanley‘s Bondi FM show this Sunday afternoon between 4-6pm to warm up what will be a huge night at Manhattan Lounge.

Presale tickets are available from Our House Sydney

Check out this dope write up on THE MUSIC INSTITUTE

Chez Damier
musicins5.jpg
What was “The Music Institute”?
Date: Tue, 4 Feb 1997
The Music Institute was Detroit’s answer to such legendary house and garage clubs as New York’s Paradise Garage and Chicago’s Powerplant.
At the beginning of this music, the MI was the only place where you could hear Detroit Techno the way it ought to have been heard; loud. Bumpin’. Funky.
The MI (along with the smaller UN club) was the last gasp of young, black intelligentsia; the final celebration of the unique, creative vibe of the “cool” kids from Northwest Detroit; a vibe long since supplanted in more recent times by the relentlessly shallow and low-class gangsta aestethic (“keepin’ it real, son”) of hip-hop.
But in 1988 and for two years, Derrick May rocked the turntables from midnight to 8-9 am with UK Acid House, Chicago House and the first Detroit Techno classics that the world would later come to know: Suburban Knight’s “Motor City Pressure” (later to be released as “The Art of Stalking”), Model 500’s “No UFOs“, Inner City’s classic “Good Life” and his own anthems, “The Dance”, “The Beginning”, “Nude Photo” and many others. Although others spun at the venue; Mayday was the star of the show, and fuck anybody who says different. Many times, he’d play tracks right off a Fostex two-track recorder that he’d just cut hours before at his studio, something I never got over. He’d beat mix between the reel to reel and 1200s and back, using the pitch control on the reel. He’d cut, edit and destroy other people’s tracks, too, as he did with his fucked-up psycho re-edit of the MI theme “We Call It Aciiiieeed” by D-Mob (which I still have on reel).
Although some newer heads deride him as a has-been, Derrick in those days did by hand what many of the current Techno producers do digitally. No DATs. No acetates.
The MI, through Derrick, brought a European vibe to our city, something that there never was before. Before, we were just a bunch of middle-class black kids who read The Face and GQ and Melody Maker and dreamt about what London or New York would be like; now ABC and Depeche Mode came to the MI in its heyday to witness the relentless Mayday at work, and to hang out with us. Real Brits ! Real accents ! In our club !
A no-liquor (pop and juice only) policy kept the MI open without incident to all comers. The older kids, the Cass Tech and Renaissance high school kids, the gay crowd and girls girls girls. All in one house; pre-rave, pre-drugs. One strobe light and House Music All Night Long.
But, ultimately, that’s what did MI in at the end. The frat boys wanted alcohol. The older kids didn’t like high schoolers there. The girls came to dance, not to get hit on; which made the straight guys mad, as did the healthy presence of a gay clientele at the club (in fact, in those days, the only white faces in the crowd would be the more-adventurous House-loving gay kids and their fag-hags).
Then with the twin debuts of NWA and 2 Live Crew, gangsta hip-hop and booty music (always an East Side thing in Detroit) supplanted House and Techno with the youth. Europe became more lucrative for a lot of Detroit producers as they turned their sights overseas. AIDS destroyed the previously open and fun-loving gay community who had always welcomed straights into their world, and whom House Music had belonged to before Chicago, New York and Detroit had given it to the rest of the world. The talented, smart kids went on to college, only to ultimately leave Detroit (and who could blame them ?).
But for a second, it was there.
There were tears and hugs on the last MI night back in 1990. Every person in Techno at the time, along with a house packed to capacity, jacked their last jack (“jack your body” was current slang back then) at their beloved club. Derrick May’s final record was the sad and plaintive “Pacific State” by 808 State; made even more sad by this new context.
Detroit plunged into the Bush years (more bad news for us black folks). And we said goodbye.
But not before a lot of young, talented black people were inspired to take up this music and one way or another, make it their lives. Then go on to rock the planet.
George Baker (owner). Derrick May. Juan Atkins. Kevin Saunderson. Alan Ester. Alton Miller. Chez Damier. The Music Institute, 1315 Broadway, Detroit, MI.
Alan D. Oldham
Feb. 1997
ALTON MILLER: Biography
It was once said that art is an expression of life. The way in which we choose to view it, hear it, dance it, speak it and write about it is the passion that drives an artist to create. Alton comes to the world painting a musical canvas. Molded, shaped and reared on Stevie Wonder, Santana, Parliament Funkadelic and the Philadelphia sound, he grew to be an avid clubber. On a frenzied tour of clubs in North America, Alton began homing his skills under the electrifying energies of Ron Hardy, Frankie Knuckles, Larry Levan and Timmy Regisford. Alton, along with friends, set out to recreate the energy they experienced in the clubs, by opening the world renowned dance club the Music Institute in Detroit. The Music Institute was one of the epicenters of the underground House movement where Alton and Chez Damier shared residency on Saturday nights creating the musical volcano that erupted worldwide in 1988. Alton’s affinity for rhythms led him to take up conga drumming and becoming an accompanist for a local Katherine Dunham based dance company. Drumming and its connection to rhythms of all music have proven influential to his musical growth. In 1991, Alton recorded his first release “Pleasure Baby”, for Serious Grooves / KMS. ” I Like Having You”, his second release recorded for Cyren is considered a classic among House DJs worldwide. This single was also a debut for his vocal talents. Alton’s third single “Dusk”, recorded under the pseudonym Aphrodisiac for Serious Grooves / KMS, was critically acclaimed on both European and North American charts. Since his early recordings, Alton amassed worldwide success and exposure as a producer/DJ.

For the last two years, Alton has been busy releasing singles & EPs, for various independent labels. Guidance Recordings and BPM Records were plateaus for Alton’s inner growth as a musician and songwriter/producer. “The Rare Source EP” recorded in Paris for BPM charted in Muzik’s Top 100 Top Songs of 1996. Alton’s latest projects include a single for Carl Craig’s Planet E and mixes for Detroit House Producer : Scott Grooves. At the end of 1998, Alton signed an exclusive recording agreement with Distance Music, this single comes from his forthcoming album, to be released Spring 1999.From 1989 to present, Alton has toured France, Chile, England, Switzerland,Portugal, Germany … defining House music to the world as he has experienced and lives it. Miller’s intimate connection with the drums and varied African influenced rhythms result in compositions that move people physically and emotionally and hearing him DJ defines what House music is all about ! –http://www.distancemusic.com/BIOS/amiller.htm
Detroit techno is an early style of techno music originating from Detroit, Michigan, USA in the mid-1980s. A distinguishing trait of Detroit techno is the use of analog synthesizers and early drum machines, notably the roland TR-909 for its production or, in later releases, the use of digital emulation to create the characteristic sounds of those machines.

History
The three individuals most closely associated with the birth of Detroit techno as a genre are the “Belleville Three”; Juan Atkins, Kevin Saunderson and Derrick May. These three high school friends from a Detroit suburb would soon find their basement tracks in dancefloor demand, thanks in part to seminal Detroit radio personality The Electrifying Mojo. Mojo not only played the early homegrown techno tracks, but also influenced the new sound by playing electronic music from techno and electronic music pioneers like Kraftwerk, Philip Glass, New Order and Afrika Bambaataa.
Influences also came from Chicago’s early style of house music [1]. Although producers in both cities used the same hardware and even collaborated on projects and remixes together, Detroiters traded the choir-friendly vocals of House with metallic clicks, robotic voices and repetitive hooks reminiscent of an automotive assembly line. Many of the early techno tracks had futuristic or robotic themes, although a notable exception to this trend was a single by Derrick May under his pseudonym Rhythim is Rhythim, called “Strings of Life.” This vibrant dancefloor anthem was filled with rich synthetic string arrangements and took the underground music scene by storm in May of 1987. With subtle differences between the genres, clubs in both cities included Detroit techno and Chicago house tracks in their playlists without objection (or much notice by non-audiophiles) from patrons.
Socially and geographically, it is important to note on a local level, that Detroit Techno as a genre created a newfound, integrated club scene in Detroit that had not been felt in a general sense after the Motown label moved to Los Angeles. Television programs like TV62 — WGPR’s “The Scene” featured a very mixed selection of dancers (Black, White, Chaldean) every weekday after school, but the playlist was typically jammed with the R&B and Funk tracks of the day, like Prince or the Gap Band. Breakouts like Juan Atkins “Technicolor” under his Model 500 moniker eventually found their way onto The Scene, and helped to explode the burgeoning local Techno underground with validity for the urban high school set, college radio programmers and DJs from Chicago to London, and beyond.
Geographically in a Detroit sense, the “Eight Mile” concept, like the segretory stigmata of Watts, The Bronx or South Chicago is still true in southeast Michigan. Even the Belleville Three lived outside the city limits, yet their influence and magnetism in loft apartment parties, after hours and high school clubs, and late night radio united the listeners of progressive dance music from above and below eight mile road. Even infamous, Techno-friendly regular hours clubs like The Shelter, The Music Institute and The Majestic among many others were the incubators for progressing the Techno movement from basements and late night radio onto the dancefloors of the world.
Second wave
Once Detroit Techno became a full-fledged musical genre, a second generation of regional artists developed into techno icons themselves; Jeff Mills, Richie Hawtin (aka Plastikman) and Carl Craig to name just a few. Mills began his career as “The Wizard” on Mojo’s nightly broadcast, showcasing his turntablist skills with quick cuts of the latest underground tracks and unreleased music from local labels.
In the mid-to-late 1990s, Detroit Techno producers experimented with extended aural soundscapes featuring sparse, ambient underscores punctuated with sporadic, cyclical periods of percussion. Extended length vinyl projects like those under Hawtin’s Plastikman facade are particularly clear examples of this period. Atkins “Sonic Sunset” CD in 1994 also delivered this new tradition of Detroit techno.
On Memorial Day weekend of 2000, electronic music fans from around the globe made a pilgrimage to Hart Plaza on the banks of the Detroit River and experienced the first Detroit Electronic Music Festival. In 2003 the festival management changed the name to Movement, then Fuse-In (2005), and most recently, Movement: Detroit’s Electronic Music Festival (2006). The festival is a showcase for DJs and performers across all genres of electronic music.
Quotes
Derrick May once described Detroit techno music as being a “complete mistake…like George Clinton and Kraftwerk stuck in an elevator.”
Alton Miller
Profile
Of the many figures central to Detroit’s thriving electronic dance music scene that began in the mid-’80s and has carried on to the present, some figures such as Alton Miller have played important roles but never managed to attain the mythical status that has been granted to many of the city’s more legendary figures. Growing up in the 1970s, Miller soaked up the musical environment surrounding him in the Motor City, taking a particular interest in the sounds of Motown, Philadelphia, Parliament-Funkadelic, and Santana.
It was during the early ’80s once the dance music-crazed Miller become friends with a young Derrick May that he decided to start spinning records, citing Chicago DJs such as Ron Hardy and Frankie Knuckles as prime influences. By the latter part of this same decade, Miller joined forces with George Baker and Chez Damier to start the Music Institute, a short-lived but legendary Detroit club that has since become near-mythical, thanks to the pioneering techno efforts of figures such as May. Following the demise of {~the Music Institute}, Miller took an interest in Conga drumming in addition to DJing, which led to a period between 1989 and 1991 where he toured world with his music. He then joined forces once again with May, first as an employee of the artist’s Transmat record label, then as Aphrodisiac, the title under which he would begin releasing his music. Besides his EP on the Transmat-affiliated label, Fragile, he also released his music on Kevin Saunderson’s KMS label and a series of EPs on the Serious Grooves label. By the mid to late ’90s, he increased his presence in the Detroit area through a number of DJ performances and continued to release his music on renowned labels such as Carl Craig’s Planet E, Mike Grant’s Moods & Grooves, and Distance. ~ Jason Birchmeier , All Music Guide
Chez Damier: 1987, il part pour Detroit où avec l’aide d’Alton Miller il ouvre le Music Institute, le premier club Techno/House aux USA. Un club sans licence pour l’alcool où les Depeche Mode et autres Fine Young Cannibals découvrirent la House.
http://www.tokyoclassified.com/tokyoclubsbars/321/tokyoclubsbarsinc.htm
http://www.bassics.de/mgprofile.html Profile of Mike Grant’s label Moods & Grooves
Meeting Detroit techno legend Derrick May in 1984, Miller was deeply influenced to develop his own DJ skills. Soon he became part-owner of the epicenter of the techno movement, The Music Institute.

Our House Sydney presents ALTON MILLER (DETROIT, USA) Sunday April 24th


Our House Sydney returns on Sunday Easter long weekend with one of the true pioneers of House music, ALTON MILLER (DETROIT, USA). Visiting Australia for the first time in over 10 years, the man from the motor city will celebrate the 20th anniversary of Detroit’s legendary club ‘The Music Institute’ which he co-founded with George Baker and Chez Damier. http://vanguardsound.com/id25.html

Alton’s trip downunder also coincides with the release of his latest album, ‘Light Years Away’ which has been critically acclaimed by the likes of Osunlade, Atjazz, and Boddhi Satva. http://mixedsignals.ca/#/-in-the-house-canada

Our underground sanctuary to celebrate this special occasion will be The Manhattan Lounge, 58 Elizabeth St Sydney and will be powered by the warmth of our Turbo Sound PA system.

Local supports include Phil Toke, Michael Zac and Eadie Ramia.

Limited $20 pre sale tickets are available from www.ourhousesydney.com. Strictly limited capacity so get in quick.

A recent mix of Alton’s —–>

Alton Miller Cluberia Podcast

Alton Miller live@ Staple San Fran 01/15/00 160 min

Alton Miller Movement Detorit Mix from Deep House Pages

http://www.deephousepage.com/images/gifs/mp3_sm_1.gif

A preview of his critically acclaimed latest Album ‘In Light Years’

ALTON MILLER
Growing up in the 1970s, Miller soaked up the musical environment surrounding him in the Motor City, taking a particular interest in the sounds of Motown, Philadelphia, Parliament-Funkadelic, and Santana. It was during the early ’80s once the “dance music crazed” Alton became friends with a young Derrick May that he decided to start spinning records, citing Chicago DJs such as Ron Hardy and Frankie Knuckles as prime influences. By the latter part of the same decade, Miller joined forces with George Baker and Chez Damier to start the Music Institute, a short-lived but legendary Detroit club that has since become near-mythical, thanks to the pioneering techno efforts of figures such as May. Following the demise of The Music Institute, Miller took an interest in Conga drumming in addition to DJing, which led to a period between 1989 and 1991 where he toured the world with his music. He then joined forces once again with May, first as an employee of the artist’s Transmat Records label, then as Aphrodisiac, the title under which he would begin releasing his music. Besides his EP on Transmat’s sublabel Fragile, he also released his music on Kevin Saunderson‘s KMS and a series of EPs on Serious Grooves. By the mid to late ’90s, he had increased his presence in the Detroit area through a number of DJ performances and a stream of stunning twelves. His latest album ‘Light Years Away’ had been critically acclamied by the likes of Osunlade, Atjazz and Boddhi Satva

OUR HOUSE NYD SPECIAL – SECRET LOCATION REVEALED


A BIG THANK YOU TO THOSE WHO HAVE PURCHASED TICKETS FOR OUR NEW YEARS DAY CELEBRATION!! THE LAST FEW REMAINING TICKETS CAN BE PURCHASED FROM www.ourhousesydney.com. THE VENUE LOCATION IS ALSO UP ON THE WEBSITE. WE WILL ALSO BE GOING PAST 1AM, SO ANYONE LOOKING TO KICK ON AFTER THE FESTIVALS HAVE FINISHED CAN CALL PHIL ON 0415 164 425 OR EMAIL ourhouse_sydney@optusnet.com.au

………………………………………………………………….

Our House returns this NYD to celebrate the new year – underground style.

Join us in our indoor/outdoor sanctuary as we delve deep into our record collections for the finest House, Garage, and Disco gems.

Music selectors include James Bucknell, Gian Arpino, Phil Hudson, Phil Toke, Michael Zac, Eadie Ramia, Toby Wilson, and The Latin Jam Crew (Live).

Tickets are $20 from www.ourhousesydney.com.

Presale tickets only. Strictly limited capacity. BYO

*This party is proudly supported by Soul Of Sydney – Funk, Disco, and House music Blog.

DEEP SOULFUL JAZZY HOUSE SYDNEY @ Our House CLUB NIGHT & WAREHOUSE PARTY


Phil Toke @ Our House 2008

Music: Lil Louis – I Called U (The Conversation), (Epic, 1990)

Arty @ Our House 2008

Music: TJM- Small Circle Of Friends (House Works, 2005)

George  @ Our House 2008,

Music: Patrice Rushen– Haven’t You Heard (Elektra, 1980)

Our House Classic 1st B’day Video

Music: Marshall Jefferson – Move Your Body (House Music Anthem), (D.J. International Records, 1986)

If you dig the sound, be sure to check out Phil Toke, Mr X & George playing Chicago HOUSE DISCO Classics all night @ the ‘RESPECT’ Warehouse Party, (Sat 12th Sept 2009)

Our House Classics 101 Video Channel

http://www.youtube.com/user/OurHouseClassics101

Terrence Parker Interviews + Classic Mixtapes #1 Disco & Funk & #2 The Michael Jackson Tribute (R.I.P Michael Jackson)


Thomas paine's photo montage of Detroit pics a...

Terrence Parker: The 5 Magazine Interview

terrence parker the 5 mag interview

NOT TOO LONG AGO, my good friends Dysqo and Rhyno called me, all hyped on a certain DJ they wanted to bring out. He uses a telephone as his headset (the old school kind) and scratches House Music better than any DMC DJ I’ve ever seen.

Enter Mr. Terrence Parker from Detroit. With over 100 productions under his belt and top 20 hits such as “Love’s Got Me High”, “The Question” and albums such as Detroit After Dark, he gives us hope that being a successful producer does not mean compromising to the hip and trendy.

He has a fairly young label called Parker Music Works that has churned out 28 releases in just two years. He is one of the true pioneers of Gospel House, and listening to his mixes brought me back to the earlier years of House with big churchy vocals, uplifting piano chords and deep deep basslines. In this day and age when every producer/DJ is screaming “tech”, “electro” or “minimal”, Terrence’s music is timeless.

But more than that, Terrence Parker is an inspiration. After just ten minutes on the phone with him it felt like talking to an old friend. Strongly rooted in his faith, he emanates an energy that was palpable as we talked about losing faith in the music industry, being saved and why even bigtime DJs still need to get a job…

You took a one year sabbatical from the music industry, can you tell me more about that?

Oh sure. Actually it was needed for a number of reasons. I knew that it was possible for me to have a career on the Hip-hop side but as I got into House Music, I didn’t see it so much as a career until I started getting closer to people here in Detroit like Derrick May, Kevin Saunderson, Juan Atkins, Blake Baxter, Eddie Fowlkes… And looking and watching them really gave me the idea that, hey, I could really make a career out of this!

As I started to get more successful over the years, the business side of it became more and more stressful, to the point where I wasn’t enjoying it. The love never died, but I just wasn’t getting the same type of satisfaction. The passion was overshadowed by all the politics and business drama that goes along with the music industry. I was really beginning to lose faith in people.

Even beyond that I was going through this whole spiritual thing. I mean I always loved God, I grew up in church and that whole thing, but I hadn’t truly made the commitment or the sacrifice of myself. I said I’m going to turn my life over to God because I really wanted a change. So I went through that whole thing of reconnecting with God, being baptized, being saved… the whole nine yards.

Was there something in your life such as a tragedy that triggered it?

Well let’s just say that God has a way of getting one’s attention! In 2001 when we had the 9/11 terrorist attacks, it was shortly after that that my bookings started to decline. I went from making quite a bit of money to basically nothing. Like no bookings coming in, nothing happening at all. Everything dried up. Things started going down. When you go from making quite a bit of money to not making anything at all… you wake up quick!

In Memory of MJ & just to get you a little hyped for the upcoming Terrence Parker live show we though we should pull out a classic mix we featured by the man himself.

Be sure to check out the gig Saturday 24th Sept presented for plenty of similar vibes.
More details: Facebook 

The classic Michael Jackson Tribute (RIP MJ) by Terrence Parker

Here is a mix featuring some of  the amazing  MJ classics, remixes  & rarity’s all mixed, scratched, juggled by Legendry Detroit house DJ/Producer Terrance Parker

Duration: approx 65 mins

Download

Tracklist:

1. The Jacksons – “Lovely One” – Epic

2. Michael Jackson – “Billie Jean” – Epic

3. Michael Jackson – “Off The Wall” – Epic

4. The Jackson 5 – “Forever Came Today” – Motown

5. Michael Jackson – “Get On The Floor” (Summer Headz Remix) – Promo

6. Michael Jackson – “PYT” (Mystery & Matt Early Remix) – Promo

7. Micheal Jackson – “Stranger In Moscow” (Todd Terry Remix) – Epic

8. The Jacksons – “Shake Your Body Down To The Ground” (Remix) – Promo

9. Michael Jackson – “Remember The Time” (Mystery & Matt Early Remix) – Promo

10. Michael Jackson – “Wanna Be Starting Something” (Acapella Chant) – Promo

11. Michael Jackson – “Baby Be Mine” (Remix) – Promo

12. Michael Jackson – “Rock My World” (Remix) – Promo

13. The Jacksons – “Walk Right Now” – Epic

14. Michael Jackson – “Working Day And Night” – Epic

DOWNLOAD HERE

PLAY HERE

More From Terrence Parker

Web: http://www.terrenceparker.net

Myspace: http://www.myspace.com/terrenceparker

Facebook: http://www.facebook.com/people/Terrence_Parker/619733727

Twitter: http://www.twitter.com/terrenceparker

Mix shows: http://www.terrenceparker.podomatic.com

Music downloads: http://www.beatport.com/labels/parker+musicworks

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Hello from Detroit,

Thank you for listening to the Terrence Parker Mix Show Podcast and making it one of the most popular mix shows on the Internet. This show is not brought to you by any corporate sponsorship and therefore I have completely creative control over the show’s musical content. Your generous financial support is needed to help keep the show going. Large or small, any amount you can give is greatly appreciated. However, for any gift over $25 US Dollars I will send you one of my latest TP Mix CDs (please allow up to 14 days for shippping and handling).

If you would like to make a donation please use the following link: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=6023770

Thank you for your continued support of the Terrence Parker Mix Show Podcast.

Best regards,

Terrence Parker

[tweetmeme source=”soulofsydney” only_single=false]

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The Interview: Terrence Parker

Posted by on Nov 24, 2010 in General | 0 Comments

Detroit has been credited as one of the Soul Music capitals of the world, spawning legendary artists like The Four Tops, Marvin Gaye and Diana Ross just to name a few. Detroit’s Underground Music Movement has brought rise to artists such as Derrick May, Juan Atkins, Carl Craig, Kevin Saunderson and a host of others. But unlike the aforesaid names, Terrence Parker has established himself as a producer, remixer and DJ of the classic sound of House Music, and is known as a pioneer of the Inspirational / Gospel House movement!

Terrence Parker has performed as a DJ in more than 100 cities throughout the world. Since 1988, he has released more than 100 recordings, and had top 20 hits with his songs “Love’s Got Me High”, “The Question” and albums like “Detroit After Dark” in the U.K., The Netherlands, Germany, and France. As one of the headliners for the 2004 Detroit Movement Festival (May 2004), TP (along with his friend & Detroit legend DJ Mo Reese) performed a stunning Tagteam DJ set on 4 turntables with 2 live vocalists for a crowd of over 100,000 people. As part of the Detroit Historical Museum’s History of Techno International Exhibit, TP’s collective musical works and pioneering efforts have been recognized as a valuable contribution to Detroit’s music history, as well as the International History Dance Music. This exhibit is currently touring museums throughout the United States.

Ahead of his only London date, Legendary Detroit DJ and innovator Terrence Parker takes a few minutes aside from his ’30 Years Of DJing’ tour to answer a few questions on his esteemed career Grand Master Flash, his European tour, today’s music scene and his famous telephone….

1) Congratulations on 30 years of music and your current tour, I’m sure there have been many but can you tell us about some of your favourite moments?

WOW! There have been countless wonderful memories over the past 30 years. One of the events I remember the most is the very first party I ever played. It was our eighth grade graduation party hosted by my classmate named Mike Muirhead. Before that party I had been known for the mix tapes I made, but that party was the first time a large group was able to witness my DJing skills directly. It was a great party which launched my DJing career right into high school. After that party word began to spread and by the time I was a senior in high school I was DJing events at high schools throughout the Detroit area regularly.

I also remember in 1990 sending demo tapes out to many mix show DJs and record labels. Only one person responded. That one person was Tony Humphries! I remember when he first contacted me about the demo, telling me how much he really liked it. He played it on his radio show (which at that time was on Hot 97 in NYC). The track on that demo was “Hold On’, which was later released on Kevin Saunderson’s Trance Fusion label (a division of KMS Records). Tony went on to break my Seven Grand Housing Authority track “The Question” while he was resident at Ministry Of Sound in London.

Some of my most memorable DJ events were in Detroit, but also other countries like Japan, Russia, Germany, UK, France, Italy, Slovenia, Serbia, Belarus, and many others! The largest audience I ever played for was at the Movement Festival in Detroit with over 100,000 people. It has truly been a great 30 years!

2) What’s your opinion on the current state of the music scene?

People do not seem to value music they way it use to be 20 (and more) years ago. Music is viewed as an intangible audio file rather than a tangible piece of artistic work. There are a lot of fantastic creative people today making some amazing music. Unfortunately they are not being recognized or appreciated as perhaps they would have been years ago. The advances in technology are great but it allows for easy pirating and file sharing. Hopefully people will realize the best way to show support for your favorite artist is to buy their music.

3) Working with labels such as KMS Records, Serious Grooves, 430 West and Simply Soul, do you feel this is where you gained the experience and confidence to launch your own labels and what would you say to people who would like to launch their own labels?

Yes I learned a lot from watching Kevin Saunderson, Santonio Echols, JD Simpson, The Burden Brothers, Mad Mike Banks and several others. My advice to anyone who wishes to launch their own label is simple. Find some people you feel are successful with their labels and watch how they operate. If you do not know the person directly, read any books, blogs, or other material they have available.

4) Being a such an icon for so long, does this put a lot of pressure on your life as a whole?

I do not feel any pressure because I stay true to who I am. Many years ago I use to feel a lot of pressure to live up to a public image. But now I have my life priorities in order of God first, family second, and everything else follows behind.

5) What was the determining factor that made you want to pursue a career in music and what was the biggest challenge you faced?

Even as a young boy I have always enjoyed music. Watching people like Michael Jackson and George Clinton made me consider a career in music. However, it wasn’t until after I saw Grand Master Flash rocking the turntables that I knew for certain I wanted to enter the music business. Over the years there have been many challenges. Perhaps the biggest and most common challenge I faced was getting someone to listen to my demo and ultimately sign me to their label. Although I have released my music with many labels over the years, the process was very difficult and often times quite discouraging. My frustration with the “demo shopping” aspect of the industry is what motivated me to launch my own label (known at that time as “Intangible Records”).

6) With so many achievements including top twenty hits with tunes including “Love’s Got Me High“, playing in more than 100 cities around the world and hit albums in the U.K like “Detroit After Dark” are there currently any goals you set yourself?

I would like to do more television & film projects. I have a few under my belt but I would like to get deeper into this area. I would love to DJ on the African continent, South America, South East Asia, Australia, and many other interesting places in the world. Most of all I would like to help others (not just with DJing or music, but in life).

7) Your current tour started way back in March taking you all over the world, we are looking forward to seeing you appear here in London at East Village on the 26th November, what can we expect to hear and will it differ from what you have played in other countries?

Although the tone of my DJ sets are the same (strictly positive) I play a different set everywhere I go.
I plan to play a lot of inspirational house music, funk, soul, and disco classics. You may also hear a few of my own productions tossed into the mix.

8) You come from a golden era in music when the whole world seemed to be taking inspiration from Detroit, what was different there and how was it different to what was happening in other music capitals around the world?

Respectfully I cannot accurately compare Detroit to other areas because I do not know their music history from a personal level. I can only speak from the perspective of a Detroiter. Many years ago music was regional and strictly localized. But in today’s world with the internet, it is much easier to become familiar with music and culture from a global perspective. As I have personally traveled to various places throughout the world I can see the Detroit influence in the up and coming producers in various countries. But I will say that Detroit was very unique because of the tough economic climate, and it’s rich music history from our classical symphony, to jazz, to Motown soul, to hip hop.

9) Your known for mixing with a telephone, how did that come about?

I started using my telephone headset back in the 1980s. A friend of mine went to Chicago, saw a DJ there using the telephone headset, and then he came home and made one for himself. When I saw the headset my friend made I asked if I could use it at a party. I used it at a party and liked it very much. So I asked my friend to show me how to make one and he did. I was very good with electronics so I figured I could make one with no problem. I went home that night and made my own telephone headset. I have been using one ever since. The one I use now I have had for 18 years, and I still enjoy it very much.

10) Your set at Fuse-In during the Detroit Electronic Music Festival in 2005 was a master class in scratching and working a crowd, do you have an idea of what direction your going to take a set in or do you just see where the vibe takes you?

I usually vibe off the audience. If the energy from the people is great, it tends to boost my energy as well.

11) Lastly, if you could give budding DJ’s and Producers a word of advice what would you say?

Take time to develop your craft (do not rush). Be true to yourself (do not compromise your principles). Be professional at all times. Do not look down on anyone unless you are reaching down

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