THIS IS GRAEME PARK!
After this "short" absence there's nothing
better then return with not one but two legends from old Albion, both from
Manchester, one that rules over the decks, radio and music production and one
that rules over the bass lines. So, today i'll start with Graeme Park the
legendary DJ who i've met this year during one of our finest clubbing nights at
Casa da Música, Porto.
I've booked Adam Ficek for that same clubbing night so
we met over the dinner. Two 'lads, two different generations
and one huge common skill: They both breathe music at higher rates!
KING_LEER (KL)
I’ll try to go through new subjects this time but, off
course I’ll have to revisit some of your main achievements. This is one you’ve
already answered before but what changed or what was the trigger for this new
era on DJing?
GRAEME PARK (GP)
For me it was the early 80s electro stuff from the US.
Afrika Bambaata, Jonzun Crew, Arthur Baker and John Robie productions. They
really stood out from the plethora of slick, well produced, beautifully sung
soul, funk and disco that was played in most clubs. This coupled with all of
the extended 12” remixes of rock and pop tracks from the likes of New Order,
Talking Heads, Orange Juice, ABC, Eurythmics etc. meant for an exciting time.
Most successful DJs at the time used to use the mic to get a response from the
crowd but most people who were into new this music didn’t particularly want to
hear a DJ talking nonsense just to get a reaction. This inevitably lead to DJs
like me getting the chance to do our thing and it was our choice of tune that
got a response.
KL
I’ve always attended to some venue or club mainly if I
liked the music there – DJ resident or if some DJ I’ve heard good references
about was in town.
Forgive me as I am not - by any means – diminishing
your craft. This is because there’s in some cases some kind of adoration that
goes behind trivial.
GP
My early DJ residencies at The Garage in Nottingham
and The Haçienda in Manchester were amazing venues that catered for a variety
of people and tastes several nights of the week. But these, along with The
Leadmill in Sheffield, were the only places you could hear me play and by the
late 1980s, I was playing a lot of records that very few DJs had. So the only
way to hear them was to come to one of my nights. The fact that I was DJing in
fantastic and established venues was a bonus.
KL
How do you update your sounds and record collections
nowadays? I don’t know if your share this thought with me but there is so many
music available at the moment in many formats, many platforms that sometimes is
a hard task. Besides your research what are your main sources? Do you have
anyone helping you targeting candidates for your record case?
GP
I get hundreds of tracks emailed to me very week from
record companies, PR companies and artists themselves. It’s impossible to
listen to all of them, which is a shame. There are people and companies out
there who offer services where they listen to everything for you, but there is
absolutely no way I could ever trust anyone to make a decision on whether a
track is to my taste or not and I don’t understand DJs who let people do this
for them. There are labels, artists, producers, DJs, A&R and promo people
who I admire, like and trust and so I will try and listen to their stuff as
soon as I get it. However, there are probably loads of tracks that I might like
that just get lost in my Inbox that I might never hear. That’s a concern, but
with so much music around it’s a sad fact. I do try and make time to listen to
random tunes by unknowns but because so much of it is average or poor, then
it’s a difficult and often tedious task. On top of that I still like to buy
music and use Traxsource and Beatport but even using those sites can be like
negotiating a minefield. Where do you begin? One thing I do, which I’ve always
done, is to try and check out tunes that aren’t being played by everyone else.
In fact if everyone else is playing a track and it’s in all of the various
charts, then I’ll probably try and avoid it and seek out something else that I
think deserves similar attention. I’ve always done that and as a result have
found some amazing tunes and helped get the attention they deserve. I also like
digging deep into my huge vinyl record collection from time to time and
rediscovering forgotten and obscure gems and giving them a new lease of life.
That way, I get to play tunes that no-one else is.
KL
The club scene is totally different here in Portugal
but tell me what was the most profitable period for you as a DJ? Probably the
nineties? Any particular story you want to share with us about those days about
a performance or a special club?
GP
The 1990s were just incredible. There were less clubs
and not nearly as much choice as today. That meant people used to travel to
hear DJ's rather than just go out locally. Music wasn’t as freely available as
today and it would take months for a record to become available after a DJ
started playing it. Today, you’re talking about hours.
Huge events with DJ's weren’t as common in the 90s as
they are today either. People take things for granted nowadays. I’ve had the
privilege and honour of playing in some amazing places over the years and in
many cases being the first UK DJ to do so.
KL
This question, being a trivial one is it’s
irresistible to me. It’s about Haçienda.
Off course you met some of the great characters from
Manchester, regarding the pop scene, rave, madchester, etc. I’m listening to
Durutti Column while making this interview. I’ll name someone and you’ll write
whatever comes to your mind, ok?
GP
Tony Wilson – an inspirational figure who supported and encouraged me and others and
someone who had great vision. Sadly missed.
New Order – Manchester’s greatest pop band ever. They were also extremely
groundbreaking and ahead of their time with their use of synthesisers and
appreciation of dance music. Working with Arthur Baker was genius.
Peter Hook – a lovely man.
KL
You’ve mentioned that you were teaching also at the
present. Can you tell us where and what are you teaching?
GP
I lecture at Glyndwr University in Wrexham, Wales. I
teach Music Production as part of a music engineering degree.
KL
What is your opinion on the UK policy for music
studies at general schools if there’s one consistent off course. The reason I’m
asking you this is because in my Country the music studies are almost
inexistent.
GP
There are specialist music schools and colleges in the
UK which ultimately cost a lot of money to attend. This means that people with
real musical talent are excluded on the basis of cost. This is wrong.
KL
Finally, a philosophical one : What is your vision on
our actual World? Does it need some mixing, is it on 33 or 45 rpm?
GP
I think our world definitely needs some remixing. I’d
remove all the parts that lead to war, famine and poverty and add more peace,
love and understanding. All on 12” vinyl spinning at 33 rpm of course.
KL
Well, that’s all mate. Hope to see you soon around and
I’m glad you liked House of Music venue. By the way define this venue in a
sentence:
GP
House Of Music was superb. Wonderful venue with a cool
and appreciative crowd.
THE END
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