Thank you for this interview & your music & art Theo, it was another education as you've given me many before! and props to the interviewer, this is one of the best interviews & synergy between interviewer & interviewee out there! Gratitude!
Really cool watching this since finding out (I'm pretty sure) the interviewer is the same Lori that's singing on What You Gonna Ask For, one of my favorite Theo tracks.
this interview is pure gold! i only wish there would be 40 more of them, there is so much to talk about thank you so much for putting this together AND recording it AND putting it online! HUGE shoutout to Lori for being an absolutely fantastic interviewer, one Theo deserves! Theo, thank you for your honesty!
Saw his Melbourne gig, the guy has no rules when it comes to mixing. He was already on but the time I got there and didn't finish until after I had left about 6 hours later. Didn't see him go for a piss once.
Hmm... I don't think his European audience ever discredited or disregarded his afro heritage when it comes to his music or way of thinking, as a producer. All the interviews ever recorded with him, here in Europe, were deeply interested and invested in his whole idea or concept of music and culture. He could have been loud and proud about that anytime he wanted. In any way. Sadly, these fears were rather in his own head, not in externalities I think. And understanding that would lead us/him to a much broader (mostly cultural) subject to open up. To understand why he felt that way. Anyway, it's really good to see him being/doing well in 2023, such an all-around great guy, and thanks for sharing this interview.
What theo says about plastic people at the end is so true. The first iteration of that club had a trancendental quality to it that literally changed peoples lives. Ade should be more recognised to this day. I hope someone writes a book about that place,
I'm not entirely sure but I suspect its "Porgy and Bess, Act 1, Scene 2: "My man's gone now"". I only know it from a mix on soundcloud: Theo Parrish - Live at Hot Mass Pittsburgh - 10/18/2014 - Part 3 (and then it's the last song of the mix)
i certainly dont think that the germans invented techno but i also dont understand the hrebie hancock dedication vs kraftwerk comparison really... musically or time wise. Kraftwerk were 4 albums in by 1974 when dedication was released. moot point then surely
Yeah but maybe he means they were both doing things with electronics, that you can certainly hear some genesis of techno in, at the same time and only kraftwerk get the kudos. Kraftwerk did have work before then but surely more prog/krautrock at that point. To my ears Nobu definitely has some Techno DNA in it. Anyway, all fun to discuss I guess.
I'm surprised Mr. Parrish missed this one, but if there is a thing Kraftwerk stole, it was James Brown. If you take all the synthesizers noises and robot stuff away, its just James Brown played on sequencers. They didn't blow up in black America in the 70's on accident. They took rhythms that were ubiquitous, and hid them in plain sight.
Autobahn was released in November '74. Nobu was recorded July 29, 1974. Headhunters, Sextant and Thrust were released prior to Dedication in '73 and '74. And The Prisoner and Mwandishi are from '70 and '71 (all lead up to Dedication). At the same time I wouldn't call Autobahn or Nobu techno (Computer Welt yes).
I love Theo..
I love "The Skin I'm In"
Thank you for the music
Reggie, you are in the same conversation, no doubt. And your dope records are on the same shelf as my dope Theo records.
@johnmckiernan2176 Thanks brother appreciate it highly 🙏🏾
I love your eloquence and choice of words specially when u use the language of music 🎵🎶 thanx
I love Theo his passion is unmatched. He’s so damn funny. The interviewer is great she’s got a real love for music. I appreciate her soul.
do you know who she is? need to watch some more of her interviews!
Thank you so much for posting this online with great audio and thanks to CC:Disco for recommending this. Cheers from Finland!
Musicianship is the unnoticed superpower. 🙏
I agree Pete, you got it too... Best edits in industry. Thank you ❤
Thank you for this interview & your music & art Theo, it was another education as you've given me many before! and props to the interviewer, this is one of the best interviews & synergy between interviewer & interviewee out there! Gratitude!
Beautiful conversation. Thank you.
Really cool watching this since finding out (I'm pretty sure) the interviewer is the same Lori that's singing on What You Gonna Ask For, one of my favorite Theo tracks.
this interview is pure gold! i only wish there would be 40 more of them, there is so much to talk about
thank you so much for putting this together AND recording it AND putting it online!
HUGE shoutout to Lori for being an absolutely fantastic interviewer, one Theo deserves!
Theo, thank you for your honesty!
Thank you Thank you. I had a ticket and couldn’t go because of children. Same deal with sprinkles, but now I can sit back, brew a tea and get down! 🍵
Good insights on the best approaches to knob gobbling!
Theo Is a legend 👍❤
Saw his Melbourne gig, the guy has no rules when it comes to mixing. He was already on but the time I got there and didn't finish until after I had left about 6 hours later. Didn't see him go for a piss once.
That’s his superpower.
a joyous thing here! sending all the best from over in Scotland : )
Hmm... I don't think his European audience ever discredited or disregarded his afro heritage when it comes to his music or way of thinking, as a producer. All the interviews ever recorded with him, here in Europe, were deeply interested and invested in his whole idea or concept of music and culture. He could have been loud and proud about that anytime he wanted. In any way. Sadly, these fears were rather in his own head, not in externalities I think. And understanding that would lead us/him to a much broader (mostly cultural) subject to open up. To understand why he felt that way. Anyway, it's really good to see him being/doing well in 2023, such an all-around great guy, and thanks for sharing this interview.
How would you know what HIS audience did or didn’t do. You people are something.
@@qstreetac7795as a Black woman raised in France, I can see why he felt this way. Please don't pontificate about things you have no idea about.
@@maryseo. so you’re black and enjoy 🥐. How’s that relevant?
@@maryseo. so you’re black, raised in France and enjoy 🥐? Oh and love whites. Anything I miss?
@@maryseo.so let me get this right. You’re black, grew up in France. You love 🥐’s and white people. Did I miss anything?
Great stuff - thank you!
Good interview, so much fun.
great listen, thank you !
5:28 WOW !
What theo says about plastic people at the end is so true. The first iteration of that club had a trancendental quality to it that literally changed peoples lives. Ade should be more recognised to this day. I hope someone writes a book about that place,
These two are hilarious together 🤣 I love when they're riffing together
Whats the opera song they are referring to him playing? Curious!
@58:14 HELL YEAH Theo
What is the 2020 mix by Theo that they are referring to at @2:19:00 with mixed media/footage? Has it been taken down?
we are all georgeous monsterss
@@diversifyyobonds Thank you.
Are them garden chairs?
where is he from?
Anybody know what opera he’s talking about around 14:50?
Don’t know exactly the track but I heard him play it in Toronto. Lost my marbles
I'm not entirely sure but I suspect its "Porgy and Bess, Act 1, Scene 2: "My man's gone now"". I only know it from a mix on soundcloud: Theo Parrish - Live at Hot Mass Pittsburgh - 10/18/2014 - Part 3 (and then it's the last song of the mix)
@@callum2870when?
@@Yuccachi that’s not even remotely opera.
@@cpe1704tksPorgy and Bess is indeed an opera
Dilla always paid his rent in advance.
i certainly dont think that the germans invented techno but i also dont understand the hrebie hancock dedication vs kraftwerk comparison really... musically or time wise. Kraftwerk were 4 albums in by 1974 when dedication was released. moot point then surely
Would agree. Interview still pretty cool.
@@finldavi no doubt
it was invented by germans, kraftwerk. Who would you say if they were not? asians?
@@matiasss550 are you saying that the Germans invented techno?
Yeah but maybe he means they were both doing things with electronics, that you can certainly hear some genesis of techno in, at the same time and only kraftwerk get the kudos. Kraftwerk did have work before then but surely more prog/krautrock at that point. To my ears Nobu definitely has some Techno DNA in it. Anyway, all fun to discuss I guess.
I'm surprised Mr. Parrish missed this one, but if there is a thing Kraftwerk stole, it was James Brown.
If you take all the synthesizers noises and robot stuff away, its just James Brown played on sequencers.
They didn't blow up in black America in the 70's on accident. They took rhythms that were ubiquitous, and hid them in plain sight.
8:03 He is wrong !!!! dedication was released the same year that kraftwerk released autobahn !!!
Autobahn was released in November '74. Nobu was recorded July 29, 1974. Headhunters, Sextant and Thrust were released prior to Dedication in '73 and '74. And The Prisoner and Mwandishi are from '70 and '71 (all lead up to Dedication). At the same time I wouldn't call Autobahn or Nobu techno (Computer Welt yes).