I first met Terrence when he came to play at TURRBOTAX, the on-and-off monthly party that I organize and DJ here in Brooklyn, New York. Growing up in Michigan during the 90s house and techno boom, Terrence Parker was one of my heroes—a legendary figure in the Midwest and a "DJ's DJ." And since those first few parties, I've met a lot of masterful DJs—but few as nice, as humble, and as singularly talented as "TP."Back in the day we used to call him "Telephone Man," because he used a payphone-style phone with only one ear in lieu of headphones. And though you're not likely to hear battle tricks at this year's Movement festival, TP was known for scratching, beat-juggling, and battle-mixing his techno and house records until the needles were too worn down to keep playing.Fast-forward to 2014's house resurgence and Terrence Parker is as world-renowned as ever, regularly appearing at top clubs like London's Fabric and New York's Output. Plus, he's got a new album, Life On the Back 9, out on Carl Craig's Planet E Communications. The man's skills speak for themselves—as do his classic house productions, like "Love's Got Me High"—but hopefully this interview also gives a glimpse into why TP is the kind of DJ that makes legends say "Oh shit" when you mention his name.Obviously, we want to talk about your new album, but it would be irresponsible to not acknowledge that you are one of the most skilled DJs I know. Can we start there and ask how you started DJing?
Thank you for your kind words. I began mixing music in 1979 at 11 years old. I used to make "pause button" mixtapes by using the pause button on the cassette deck to edit each individual music track and then edit the tracks together to make one long continuous mix. I began DJing in 1982 when I got my first pair of turntables and a mixer.Many Detroit producers and DJs cite the Electrifying Mojo and The Wizard (Jeff Mills' alias when he was a radio DJ) as influences. Is this also true for you, or did you have others you looked up to?
Yes, both Jeff and the Electrifying Mojo were influences on my music and DJing. The first time I heard Jeff DJing was on New Years Eve on WDRQ 93 FM with DJ Charles Hicks. Jeff's set blew me away! Shortly after that he started a regular show on WJLB FM 98. I would record his sets, listening particularly closely to his scratch patterns. Then I would try to perform the same patterns while adding in my own style and groove. I met Jeff one day in Buy-Rite Records, the original location on 7 Mile. At the time, I had my own show on my high-school radio station. When we were introduced to each other, he said, "Hey you're that guy with that show on the other end of the radio dial" (88.3FM). That was one of the best days of my early DJ career! Around the same time I met Mojo by submitting one of my DJ mixtapes to a contest he had called "The Mixadome." This was a contest to find the hottest DJ mix in Detroit. Even Kevin Saunderson submitted a mix for this contest. I didn't win, but through the process I met Mojo and later on became part of a group of party DJs he organized called the Hot Mix 10. The person who won the Mixadome contest was a guy named Maurice Turner (aka DJ Mo Reese). Maurice also became part of the Hot Mix 10, and to this day he's one of my closest friends. Mojo and I also became friends. As part of the Hot Mix 10, we played various club nights in Detroit, most notably the Cotton Club. I was mostly influenced by the various styles of music that Mojo played on his radio show. At one time, Mojo was the number-one highest rated radio DJ in America. You would hear everything from Cybotron to Eddie Grant to Prince to Kate Bush on his show every night of the week. Those were some amazing times!Terrence Parker @ The Cove in Brooklyn, NY. Part 1.How did you develop your style?
I developed my style of DJing by mixing hip-hop records. I studied DJs like Grandmaster Flash and local heroes like Jeff Mills. Everyday when I would come home from school I would do my homework and then go downstairs into the basement and practice DJing for hours until it was time for me to go to bed, sometimes skipping dinner. Later on, I continued to practice improving my skills by constantly making DJ mixtapes. God blessed me with a natural talent that I still cannot explain fully, other than to say he has given me the gift of music.Detroit DJs have a particular style of quick mixing—they've got tricks; they mix in different genres; they even bring pop music into their sets. I can't remember who said it—maybe Stingray—but someone attributed this style to Detroit parties having lots of DJs on a lineup and short set times. Is this true in your experience?
I think this is true in many ways. In fact, one of my early opportunities to break out and show what I could do came at a high school dance event where DJ Stacy Hotwaxx Hale was playing. I asked if she would let me play a few records, and she said yes—but only allowed me a 10-minute slot to show what I could do. I played the short DJ set doing what we call "quick dropping," which is a method of blending as many records together as quickly as possible within a short period of time. She really liked my set. Afterwards she spoke highly of me to other DJs and promoters, which helped me get more local gigs and build my name.I always wondered if you were doing tricks at your early gigs or if you developed this style after you were established? You mention quick-dropping records when you were still in high school…
I definitely played my early DJ sets executing many tricks, cuts, and scratches. Back in the day there was a group at a party who danced while another group watched the DJ, so I wanted to give the watchers something to see. I also wanted to create something new and funky for those dancing. Using trick elements in my DJ sets helped to create a high energy to get the party going and keep it moving.Terrence Parker @ The Cove in Brooklyn, NY. Part 2.What's the reaction from other DJs who play before or after you? I specifically remember a DJ I booked to play after you (who shall remain nameless) being absolutely terrified to follow you. Is that common?
I have heard that said a few times through my career. I never worry about or focus on how the DJ before my set is playing. I always tell those DJs to play their sets the way they want to play. I can adjust and start my set to move forward regardless. I certainly don't want to make anyone feel uncomfortable—I just want to play music and share good vibes with everyone.Can you tell me about your switch from vinyl to CDs?
Basically I made the switch for practical reasons. I enjoy playing vinyl and have been doing so since 1982. But as the digital revolution became stronger, I found most clubs who claim to understand how to properly EQ their systems for analog—vinyl—don't. I would follow behind a DJ who was playing CDs or MP3s, then as I start my vinyl set, my music would sound like mud. Then there is the issue of carrying my records on flights. The first time I flew from Detroit to Moscow, the airline charged me $300 just for my records on the complete round trip. I decided to make the switch to CDs because of the convenience of traveling with them and the usability versus Serato or Traktor Scratch.I can only really think of two other DJs who do anything close to what you do on CDJs—Trentmoeller, and Karizma. Is there someone you saw who inspired you to take the plunge to use CDJs? Or was it just challenging yourself?
On the BET Network they had a show called Rap City. In one of the last seasons of the show they had DJs come on to play music between segments. I saw a DJ mixing on CDJs and he was very skilled. The host asked him to share his thoughts on playing vinyl versus CDs. That DJ said, "If you can rock vinyl, you can take that same skill to rock CDs." That's all I needed to hear. From that moment onward I began practicing on the CDJs. Now I prefer to play CDs.What was the hardest thing about making this switch to CDJs or doing tricks on them? I have to imagine it's hard to beat-juggle, but I suppose you have the indicator.
The hardest part was just getting used to the timing of the CDJ verses the timing of the 1200 turntable. They are both precise but yet quite different because of circumference size, motor drive, etc. For years I used the center area on the record where the label is fixed to control and manipulate it for cuts, scratches, beat juggling, etc. That helped me make an easier transition to using the smaller plate on the CDJ.How do you feel about artists getting bookings to just show up and play CDJs with the sync button engaged—or cueing songs already beat-matched in Ableton?
A lie is more sensational, but it will never outlast the truth.A lot of people reading this article are younger artists and DJs. Can you talk about what it's like to make a career out of this over such a long time?
It takes faith, dedication, and hard work. It doesn't come easy. Beware of promises made to you guaranteeing a fast rise in this industry. Such promises are deceptive and usually lead to an equally fast fall. Do not fear the slow path. Embrace the adversity that comes your way for it will make you stronger. Through it you will gain wisdom keys that will unlock future doors of opportunity. If you know God, trust him first as you move forward.What are some highlights for you in your career, were there are any early milestones? Similarly, has there been any recent happenings, music, events, life moments that have inspired you?
There were many milestones, like going overseas for the first time in 1993. Having my first overseas residency at Dockland in Muenster Germany back in the 90s was huge for me. Other moments like headlining the DEMF & Movement Festivals in my home city of Detroit were equally monumental and cherished accomplishments. As for recent life events that have inspired me, I would have to say losing my home at the end of last year was one the most difficult yet inspiring moments. It is something that I thought I may never be able to recover from—or even survive. Yet by the grace of God I am able to have this interview with you and talk about music, DJing, and life. Surviving the storm and living on the back nine for real. I will take this with me in all that I do in the future both in music and in life.You mentioned Life on the Back 9, which is the title of your new album on Planet E. I am sure you have known Carl Craig and his label Planet E for a long time—what were the circumstances that lead to an album on Planet E now?
Derrick May actually suggested that I contact Carl about releasing a new TP album. I sent some of my songs over to Carl which later lead to a meeting with him. He told me he liked my music and was very interested in the idea of releasing a TP album on Planet E. The last artist album released on the label was produced by Kenny Larkin, so the fact that Carl liked my music enough to release a body of my work on his label was a humbling moment and equally a distinctive honor.You have had a wealth of records out over the years on labels like Serious Grooves, !K7, 430 West, Intangible, as well as your own label Parker Music Works. How does the new album stack up against your previous works?
This album is more mature by far in its content, message, song structure, and production. I feel it is my best work, and most of all this album speaks with a purpose—to uplift and encourage those who listen and embrace it. It honors God who made this album and all things possible in my life. It honors my brother and parents (especially my Dad). It honors my friends and my fans. It honors those who like me and even those who don't like me. The album speaks truth to any heart open to receive it.You have been releasing records for over 20 years which is incredible. What was your first record—was it the 430 West release?
Actually, my very first record release was with Separate Minds, which was a group project with Track Master Lou Robinson—who later went on to do Scan 7—and Marc "MK" Kinchen on Express Records, which was owned by Cliff Thomas, the owner of Buy-Rite Record Shop. I was featured on a track called "We Need Somebody," which appeared as the lead track on that EP, along with MK's breakout hit "First Bass."How did that come together?
I met Lou first and then Lou introduced me to Marc. Lou was part of a group called The Preps, and already had experience recording. Lou talked about the idea of forming a group with the three of us and recording under the name Separate Minds. Lou was able to set up a deal with Cliff Thomas' Express Records, because he already had a good relationship with Cliff. We went into the studio and I recorded "We Need Somebody" on the spot in one take. Cliff loved it! I will always be grateful to Lou for what he did and we are still good friends today.Were there any other "breaks" or turning points earlier in your career that felt monumental?
Other monumental moments include releasing my first solo project on Octave One's 430 West Records in 1992, establishing my Intangible Records label in 1993, signing my distribution deal with Submerge in 1993, playing my very first DJ gig outside of Detroit in London in 1993, signing my Sixby6/Sony UK deal in 1993, and later signing my distribution deal with Intellinet in 1995. Also—releasing "Love's Got Me High" in 1995, DJing in Germany for the first time in 1995, and releasing several projects under Studio K7 Records in 1997.The opposite question; were there any struggles that made you want to give up?
Absolutely! There were many times when I felt like giving up. Too many to count! It is truly by God's grace that I have come this far.Artists from all over the world describe their music with as "Detroit" techno; they idealize what it means to be from there; they gawk at ruin porn and glamorize the danger of it—do you have any sort of comment on what it means to you or what the reality might be?
Detroiters are automatic winners. We are automatic winners because we survive, thrive, and excel in spite of extreme adversity. America, and sometimes the world, has counted Detroit out many times saying we are done, finished, over, and even calling us a dead city. Yes, we have our problems. Yes, we have our hills to climb. Yet in the midst of great adversity we are still here and we are still relevant. Not only are we here, the world needs us. Not because we are so great, but because Detroit represents something we all need in our lives: hope in the face of opposition. Through our struggles big stoves were made, automobiles were manufactured, Motown was birthed, and techno was cultivated. I will always represent Detroit because Detroit represents me. God birthed me here for a specific reason, and perhaps it was for such a time as this.I know when I think of how people talk about Detroit, I think of the reality that people are living hard or harder lives, but it also being an enormously inspiring place with a lot of kind, creative people. I think it's something you understand when you are there, or meet the people from there, but doesn't translate as well through words—how would you describe it?
In order to truly experience life in Detroit one must come visit Detroit. They will see many things and learn much about the people here. They will learn many truths and discover many falsehoods that will break the spell of legendary fairytales of a desolate place.
Dance music is popular music these days. There will always be that commercialized version of what is truly happening in the streets. It is true in many genres of music—not just EDM. I think the music will continue to evolve as the technology expands. At the end of the day good music is good music no matter where it comes from.Contakt is one of the resident DJs at New York City's TURRBOTAX party. He loves backpack rap and beer and VCR tape. -@contakt321
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Thank you for your kind words. I began mixing music in 1979 at 11 years old. I used to make "pause button" mixtapes by using the pause button on the cassette deck to edit each individual music track and then edit the tracks together to make one long continuous mix. I began DJing in 1982 when I got my first pair of turntables and a mixer.Many Detroit producers and DJs cite the Electrifying Mojo and The Wizard (Jeff Mills' alias when he was a radio DJ) as influences. Is this also true for you, or did you have others you looked up to?
Yes, both Jeff and the Electrifying Mojo were influences on my music and DJing. The first time I heard Jeff DJing was on New Years Eve on WDRQ 93 FM with DJ Charles Hicks. Jeff's set blew me away! Shortly after that he started a regular show on WJLB FM 98. I would record his sets, listening particularly closely to his scratch patterns. Then I would try to perform the same patterns while adding in my own style and groove. I met Jeff one day in Buy-Rite Records, the original location on 7 Mile. At the time, I had my own show on my high-school radio station. When we were introduced to each other, he said, "Hey you're that guy with that show on the other end of the radio dial" (88.3FM). That was one of the best days of my early DJ career! Around the same time I met Mojo by submitting one of my DJ mixtapes to a contest he had called "The Mixadome." This was a contest to find the hottest DJ mix in Detroit. Even Kevin Saunderson submitted a mix for this contest. I didn't win, but through the process I met Mojo and later on became part of a group of party DJs he organized called the Hot Mix 10. The person who won the Mixadome contest was a guy named Maurice Turner (aka DJ Mo Reese). Maurice also became part of the Hot Mix 10, and to this day he's one of my closest friends. Mojo and I also became friends. As part of the Hot Mix 10, we played various club nights in Detroit, most notably the Cotton Club. I was mostly influenced by the various styles of music that Mojo played on his radio show. At one time, Mojo was the number-one highest rated radio DJ in America. You would hear everything from Cybotron to Eddie Grant to Prince to Kate Bush on his show every night of the week. Those were some amazing times!
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I developed my style of DJing by mixing hip-hop records. I studied DJs like Grandmaster Flash and local heroes like Jeff Mills. Everyday when I would come home from school I would do my homework and then go downstairs into the basement and practice DJing for hours until it was time for me to go to bed, sometimes skipping dinner. Later on, I continued to practice improving my skills by constantly making DJ mixtapes. God blessed me with a natural talent that I still cannot explain fully, other than to say he has given me the gift of music.Detroit DJs have a particular style of quick mixing—they've got tricks; they mix in different genres; they even bring pop music into their sets. I can't remember who said it—maybe Stingray—but someone attributed this style to Detroit parties having lots of DJs on a lineup and short set times. Is this true in your experience?
I think this is true in many ways. In fact, one of my early opportunities to break out and show what I could do came at a high school dance event where DJ Stacy Hotwaxx Hale was playing. I asked if she would let me play a few records, and she said yes—but only allowed me a 10-minute slot to show what I could do. I played the short DJ set doing what we call "quick dropping," which is a method of blending as many records together as quickly as possible within a short period of time. She really liked my set. Afterwards she spoke highly of me to other DJs and promoters, which helped me get more local gigs and build my name.
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I definitely played my early DJ sets executing many tricks, cuts, and scratches. Back in the day there was a group at a party who danced while another group watched the DJ, so I wanted to give the watchers something to see. I also wanted to create something new and funky for those dancing. Using trick elements in my DJ sets helped to create a high energy to get the party going and keep it moving.Terrence Parker @ The Cove in Brooklyn, NY. Part 2.What's the reaction from other DJs who play before or after you? I specifically remember a DJ I booked to play after you (who shall remain nameless) being absolutely terrified to follow you. Is that common?
I have heard that said a few times through my career. I never worry about or focus on how the DJ before my set is playing. I always tell those DJs to play their sets the way they want to play. I can adjust and start my set to move forward regardless. I certainly don't want to make anyone feel uncomfortable—I just want to play music and share good vibes with everyone.Can you tell me about your switch from vinyl to CDs?
Basically I made the switch for practical reasons. I enjoy playing vinyl and have been doing so since 1982. But as the digital revolution became stronger, I found most clubs who claim to understand how to properly EQ their systems for analog—vinyl—don't. I would follow behind a DJ who was playing CDs or MP3s, then as I start my vinyl set, my music would sound like mud. Then there is the issue of carrying my records on flights. The first time I flew from Detroit to Moscow, the airline charged me $300 just for my records on the complete round trip. I decided to make the switch to CDs because of the convenience of traveling with them and the usability versus Serato or Traktor Scratch.
Advertisement
On the BET Network they had a show called Rap City. In one of the last seasons of the show they had DJs come on to play music between segments. I saw a DJ mixing on CDJs and he was very skilled. The host asked him to share his thoughts on playing vinyl versus CDs. That DJ said, "If you can rock vinyl, you can take that same skill to rock CDs." That's all I needed to hear. From that moment onward I began practicing on the CDJs. Now I prefer to play CDs.What was the hardest thing about making this switch to CDJs or doing tricks on them? I have to imagine it's hard to beat-juggle, but I suppose you have the indicator.
The hardest part was just getting used to the timing of the CDJ verses the timing of the 1200 turntable. They are both precise but yet quite different because of circumference size, motor drive, etc. For years I used the center area on the record where the label is fixed to control and manipulate it for cuts, scratches, beat juggling, etc. That helped me make an easier transition to using the smaller plate on the CDJ.How do you feel about artists getting bookings to just show up and play CDJs with the sync button engaged—or cueing songs already beat-matched in Ableton?
A lie is more sensational, but it will never outlast the truth.
Advertisement
It takes faith, dedication, and hard work. It doesn't come easy. Beware of promises made to you guaranteeing a fast rise in this industry. Such promises are deceptive and usually lead to an equally fast fall. Do not fear the slow path. Embrace the adversity that comes your way for it will make you stronger. Through it you will gain wisdom keys that will unlock future doors of opportunity. If you know God, trust him first as you move forward.What are some highlights for you in your career, were there are any early milestones? Similarly, has there been any recent happenings, music, events, life moments that have inspired you?
There were many milestones, like going overseas for the first time in 1993. Having my first overseas residency at Dockland in Muenster Germany back in the 90s was huge for me. Other moments like headlining the DEMF & Movement Festivals in my home city of Detroit were equally monumental and cherished accomplishments. As for recent life events that have inspired me, I would have to say losing my home at the end of last year was one the most difficult yet inspiring moments. It is something that I thought I may never be able to recover from—or even survive. Yet by the grace of God I am able to have this interview with you and talk about music, DJing, and life. Surviving the storm and living on the back nine for real. I will take this with me in all that I do in the future both in music and in life.
Advertisement
Derrick May actually suggested that I contact Carl about releasing a new TP album. I sent some of my songs over to Carl which later lead to a meeting with him. He told me he liked my music and was very interested in the idea of releasing a TP album on Planet E. The last artist album released on the label was produced by Kenny Larkin, so the fact that Carl liked my music enough to release a body of my work on his label was a humbling moment and equally a distinctive honor.You have had a wealth of records out over the years on labels like Serious Grooves, !K7, 430 West, Intangible, as well as your own label Parker Music Works. How does the new album stack up against your previous works?
This album is more mature by far in its content, message, song structure, and production. I feel it is my best work, and most of all this album speaks with a purpose—to uplift and encourage those who listen and embrace it. It honors God who made this album and all things possible in my life. It honors my brother and parents (especially my Dad). It honors my friends and my fans. It honors those who like me and even those who don't like me. The album speaks truth to any heart open to receive it.
Advertisement
Actually, my very first record release was with Separate Minds, which was a group project with Track Master Lou Robinson—who later went on to do Scan 7—and Marc "MK" Kinchen on Express Records, which was owned by Cliff Thomas, the owner of Buy-Rite Record Shop. I was featured on a track called "We Need Somebody," which appeared as the lead track on that EP, along with MK's breakout hit "First Bass."How did that come together?
I met Lou first and then Lou introduced me to Marc. Lou was part of a group called The Preps, and already had experience recording. Lou talked about the idea of forming a group with the three of us and recording under the name Separate Minds. Lou was able to set up a deal with Cliff Thomas' Express Records, because he already had a good relationship with Cliff. We went into the studio and I recorded "We Need Somebody" on the spot in one take. Cliff loved it! I will always be grateful to Lou for what he did and we are still good friends today.Were there any other "breaks" or turning points earlier in your career that felt monumental?
Other monumental moments include releasing my first solo project on Octave One's 430 West Records in 1992, establishing my Intangible Records label in 1993, signing my distribution deal with Submerge in 1993, playing my very first DJ gig outside of Detroit in London in 1993, signing my Sixby6/Sony UK deal in 1993, and later signing my distribution deal with Intellinet in 1995. Also—releasing "Love's Got Me High" in 1995, DJing in Germany for the first time in 1995, and releasing several projects under Studio K7 Records in 1997.The opposite question; were there any struggles that made you want to give up?
Absolutely! There were many times when I felt like giving up. Too many to count! It is truly by God's grace that I have come this far.Artists from all over the world describe their music with as "Detroit" techno; they idealize what it means to be from there; they gawk at ruin porn and glamorize the danger of it—do you have any sort of comment on what it means to you or what the reality might be?
Detroiters are automatic winners. We are automatic winners because we survive, thrive, and excel in spite of extreme adversity. America, and sometimes the world, has counted Detroit out many times saying we are done, finished, over, and even calling us a dead city. Yes, we have our problems. Yes, we have our hills to climb. Yet in the midst of great adversity we are still here and we are still relevant. Not only are we here, the world needs us. Not because we are so great, but because Detroit represents something we all need in our lives: hope in the face of opposition. Through our struggles big stoves were made, automobiles were manufactured, Motown was birthed, and techno was cultivated. I will always represent Detroit because Detroit represents me. God birthed me here for a specific reason, and perhaps it was for such a time as this.I know when I think of how people talk about Detroit, I think of the reality that people are living hard or harder lives, but it also being an enormously inspiring place with a lot of kind, creative people. I think it's something you understand when you are there, or meet the people from there, but doesn't translate as well through words—how would you describe it?
In order to truly experience life in Detroit one must come visit Detroit. They will see many things and learn much about the people here. They will learn many truths and discover many falsehoods that will break the spell of legendary fairytales of a desolate place.
In the 20-plus years that you've been a professional artist and DJ, America's take on electronic music has changed dramatically. In the 90s when you first started releasing records, dance music felt really exciting in America. And around the turn of the century, it seemed like it might go mainstream. Now we're seeing another surge with this EDM explosion. What are your experiences or feelings about America's rocky relationship with dance music? Where do you think things will go?
Dance music is popular music these days. There will always be that commercialized version of what is truly happening in the streets. It is true in many genres of music—not just EDM. I think the music will continue to evolve as the technology expands. At the end of the day good music is good music no matter where it comes from.Contakt is one of the resident DJs at New York City's TURRBOTAX party. He loves backpack rap and beer and VCR tape. -@contakt321