Corey Parker

Interview 23 May and 9 June 2003

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'Subliminal Souls' has been out for what a year or two, tell me about how it came together, and how it's doing.  How long did it take?

I think everything was finished, and we may have had a few CD's available at my father's (Maceo Parker) New Year's Eve gig at the end of 2001, but Subliminal Souls wasn't really available until early 2002.

At the time, I had been in my father's band for over 6 years.  Him giving me the opportunity to join his band has been the single, most profound act in my life so far, so I will always be grateful.  But, by that time, I had been doing the same material on stage, night in and night out, for 6 years.  And, since I am relentlessly seeking to grow and improve and to get better and to make my material better, to be honest, what I was doing onstage started to feel a bit dated to me, and I knew I could do more and do a better job than what was being presented onstage, so I was a bit anxious to get out some material that was more on track with what I was feeling and thinking at that time.  So, I just used money that I had saved and did it all myself!

It took several months to record because I was only able to record between tours with my father's band, but I LOVE being in the studio. I feel like I have a look about me that's like a sign to people that reads "Busy Creating" - a somewhat zombie-like frame of mind where I don't really hear or see anything else that's going on around me in my everyday life...Locked in!

When I set out to record the CD, my goal wasn't record sales or anything like that.  I really, truly do this for the music, plus I know that it is virtually impossible to compete with the "machine" that is the music business today - 1 or 2 huge corporations that own everything - the stores, the bottleneck of distribution chains, the radio stations, the video channels and even the venues!  The list goes on and on.  So, my goal was only to record something with which I was pleased, something that expressed my musical background of what I feel and hear.  I felt as if the people who had heard me perform with my father's band or those who had heard of me had not really heard ME.  (Since I am somewhat of a perfectionist, I wasn't completely satisfied with everything, but we had to set a date to STOP recording....money was running out!)  All-in-all, I think Subliminal Souls turned out well, so to me, that means it's doing well. 

Also, I said that I did it all myself, but my brother, Damon Parker, played a huge, huge role in all this, but I looked ahead and saw that you ask a question about him later, so I will speak more in detail about him then, to kinda keep this organized.  If I don't, I can start typing, and we could be here forever!


You do a good deal of work with your father do you get time to fit it in - not only the recording, writing but promo-ing it.

That's true, I do tour alot with my father, about 200 days/year, so it IS very difficult to find time to work on solo projects.

(Actually, that's how I discovered that making music is definitely my passion in life.  From the beginning, during bus rides and plane rides etc. almost any "spare" time I had while on the road, I was always writing and creating and/or listening to something that I'd written or planned to record at some time in the future.  I even began to sleep with a tape recorder nearby, for those late night spurts of creativity or musical dreams.  Then, when I'd return home from a long tour with my father's band, I could immediately shift gears and continue to write/create and eventually record my stuff.  I still do these things now!)

But last year in 2002, my father's band didn't tour very much, so I had a lot of time to grow and develop my own band, The Corey Parker Band.  In less than a year, we've grown from nonexistent to being a pretty tight, funky unit.  (Ok, I hate doing this, but people ask what or who we sound like, so I say maybe something like a mixture of my father's band with The Roots/D'angelo/Arrested Development but then take that mixture and make it into what they are now calling in the U.S. a jamband, meaning we'll sometimes go off into impromptu Latin, Rock, or Jazzy sounding grooves and even Spoken-word.)  We've done lots of shows in the North Carolina area where I'm from, and a few of our larger gigs included opening for saxophonist, Kirk Whalum and his band, and also opening a few times for my father's band - once in New York City.

But, in 2003, my father's band is touring alot again, so just recently, I decided to change gears a bit by placing my band's live performances on hiatus and instead, we will be recording a demo very soon, probably in the fall after I finish this summer's European tour with my father's band.  I will then look to present that demo to booking agents and record companies in Europe and the US.  There will also be a DVD available of some of our past performances, which may just be used for promo (like in my presskits) or they may be offered at the live shows, possibly as soon as this summer on my father's European tour.

However, Subliminal Souls, is still currently available online and at my father's gigs, and I am also in the process of looking for European stores to offer that CD as well.  I have had hundreds of people on my mailing list from Europe and people at live concerts ask me about it and the availability, so I think the interest is definitely there.  In fact, I am in the process of ironing out a situation to have it placed into stores throughout Spain, so hopefully, the rest of Europe will be soon.

But, since recording on my father's latest CD, Made by Maceo, writing a song called "Those Girls," I have been mentally hit with a flood of new material.
Although I never really ever stop writing, I think that currently, I am writing the best material that I've ever written, especially after finishing the long 11-week European tour with my father's band, which included a very successful but very impromptu solo gig in Amsterdam on April 17 at a club called Amuse, where I performed with a band called The George Experience and special guest DJ Sjam from the band Zuco 103.  We performed some of my songs and some of theirs for about 2 1/2 hours - on the same night after a 3 hour show with my father's band! 

Did you go on the road for it - who's in your band.

In 2002, my band played as many gigs as possible, meaning whenever I wasn't on the road with my father's band.  Again, I'm not signed, so I did all the booking etc myself.  We did showcases and things like that to give the club owners and club-goers a taste of what we were like, then we'd follow up with a real gig. 

The members in my band fluctuated a bit because it's hard to get people to commit to a new project.  Regardless of what I think the potential and upside may be, most people need a high-paying job right now, and that's understandable, but I'm in this for the long haul, and I know it will be just that, so I needed people in my band that understood that but were also just as dedicated as I am.  So, we settled on a core of 4 - guitarist, Paul Bomar (who is actually no longer with us!); Bassist, Mark Malone; on drums, my brother, Damon Parker; and yours truly holding down the vocals and sometimes keys. And who did you get to work on the album?

Before I even began to think about recording, I asked a few of the guys in my father's band if they would be interested in helping me on my project, and they were all happy to do so.  The material on my CD was written well before I put my band together, so I really knew nowhere else to look!  But, these guys are some of the funkiest musicians in the world, so I was honored that they accepted - Rodney "Skeet" Curtis, long-time bassist for George Clinton & the P-Funk All-stars, and guitarist, Bruno Speight, former guitarist for the R&B/Soul group, S.O.S.

Also, singer/songwriter, Ani Difranco.  I was extremely honored to have her be a part of my project and for her to have the time to do it.  She's a 1 woman corporation!  She is truly as talented off the stage as she is on the stage, a huge inspiration to me.  We met a few years earlier when my father's band opened for hers during the summer of 98 (or 99) - The "F" Word Tour, Folk meets Funk.  During the tour, she asked me to come on stage with her toward the end of her show to do an impromptu freestyle session, which I later recorded on her To the Teeth CD on a song called "Swing." 

So, when I was set to record my CD, I asked her if she could and would like to be a part of my project, and she happily accepted.  The song I had written, "Pump Ya' Fist" is a high-powered, socio-political, rock/rap tune, which cleverly talks about everything from slavery, HIV infection, dishonest cops, drug usage, the pro-choice debate, etc.  I wrote it years before I met or had even heard of Ani, but after I met her, I knew it would be a perfect match, and it was.  She even added some acoustic guitar on her own!

And, of course, my father.  I think all who know of my father knows that he's funky!  So, I wanted to use him on something a little different.  So we had this Latin-flavored, rap tune called "Make it Right" that needed a solo.  We were initially thinking percussion, steel drums or something like that, but I thought my father's percussive, rhythmic style would fit, and once again, it did. How does the verse come together - personal experience and frustrations like Traffic flow!, and political too?

For "Pump Ya' Fist," "Jazzin'," and "FunkGasm," I created both the music and the lyrics.  But for all the others, my brother Damon created the music.  We have no set formula.  I think it would be crazy to say, "hey, let's get a couple of pens and a pad and sit down and write a song."  I think that's how they used to do at Motown back in the day, and I think some people still do it that way now, but for me, it's all about inspiration, what I feel, and most of the time, where the music takes me.  In some instances though, I come up with a catchy phrase or something that I want to say in a particular way, and then I'll write some music "around" that phrase, to match it in some way, but most of the time, the music comes first, and I let it take me there.

What about the style - pretty varied, pretty current but original as well, party and cool?. Who do you like out there right now - your hip hop style is kinda different, is that because you're used to working with a band maybe?

I don't want to be known for any one type or style of music.  I don't want to be boxed in or pigeon-holed in anyway because I write so many different types of songs.  That's actually what the title of my CD, Subliminal Souls, is all about - while growing up, we listened to many different types of music, and at the time, I didn't know it, but subliminally, I was absorbing all of this music.  So now that I'm creating my own music, all of those influences are erupting from deep within.

Also, usually, If an artist is introduced to the world as a balladeer, for example, then it maybe difficult for people to accept it if that artist makes a fast, danceable, party type song, and vice versa, so I didn't want to limit myself that way.  I'd love for listeners to pop in my CD when they want to party but also when they want to relax, when they want to think, when they want to make love or whatever!

Right now, I'm listening to Floetry, who I think have some UK roots.  Common, Musiq, The Roots - this genre of artists.  They seem to be the ones that I relate to the most.  I dig their mixture of content and sound.  I also like some of the rock/rap bands, 311 in particular.

Yes, I think my style is a bit different due to always working with a live band, but I'd have it no other way.  I think the audience who comes to our shows expects more than perhaps an mc rhyming over the record that a DJ is spinning.  That can be a hot show, and there are some top-shelf lyricists who perform this way, but since my start was with a live band and since anyone who has ever seen me perform has seen me with a live band, that's the way I'll keep it.  I dig the creativity, the freestyle, the impromptu solos etc.  I think about it as if I were in the audience.  I could have stayed at home to listen to the CD!  Surprise me.  Give me something.  Show me something. 

You happy with and what it's done - what stands out for you.

I think I kinda touched on this subject earlier in the first question, but yes, I am happy.  However, I am somewhat of a perfectionist, so I am never truly 100% satisfied.  That's what keeps me going, striving. 

I guess what really stands out is the completion of the entire project itself.  Subliminal Souls is a collection of my thoughts, my offerings to the world.  Scientists say that matter can neither be created nor destroyed, but I say that music is the one exception to that rule.  For me, a song is a personal thought or idea that is born in my mind, but when finished, it's something that others can hear, sing, memorize, relate to, talk about, like, or even dislike, but whatever the case, music moves people, and for my music to move someone, or for me to see someone singing all the words along with me or come up to me after a show and say something about 1 of the songs and how it affects them, that's what stands out.

And what's next, you working on anything now, and if so how's it doing..a continual process eh?

I think the landscape of the music industry is such that an artist has to be what record companies consider a "no-brainer" in order for them to be signed.  What I mean by "no-brainer" is that the artist has to have a proven record of commitment and hard work; knows that this biz of music is not an overnight, get-rich quick business and is willing to do what it takes to become successful;  HAS REAL, LIVE TALENT! (might seem obvious, but many so-called artists are studio products and not artists); is flexible and marketable; has somewhat of a following; and just basically is relentless and focused.  I think I have all of these things, but what I don't have is a DEMO!  I have never put together a demo and shopped it to record labels because I wanted to do it this way first - prove that I can get some things done on my own, prove that I can produce and record my own CD and get it into some record stores and people's CD players all around the world, prove that I can build up a fan-base who are truly interested in my material and not just interested in me because they happened to catch me on the video channel, you know, the here today, gone tomorrow artists.

I said all of that to say that I am in the process of creating a demo to shop to record labels and booking agents.  And, if I must say so myself, this material will be top-shelf!  I strive to improve with every song, challenging myself to make the next one better than the last.  As I said earlier, I am happy with Subliminal Souls and will continue to push it, but in the past couple of years,  I've learned so many new things and met so many new artists, that there is no-limit for what we are about to do.

And previously what have you done as far as your own stuff is concerned, has it always been within the confines of your stuff with Maceo. How has it been possible to carve out a personal niche, a personal career.

By previously, I assume you mean prior to Sub Souls, so you're right, the only other things I had done were on my father's CD's -

Funkoverload,  Dial: Maceo and now, Made by Maceo, which was released earlier this year.  I wrote the lyrics to a song that I titled, "Those Girls."  I've had some amazing feedback on the track, and not to sound too confident, but I too like it better than the others.  I just have a different outlook and different approach now.  Everything I do musically, everything I approach, everything I release, I will put my all into it as if it will be my last project.  I didn't always think that way, but I do now and will from now on.

It's been possible to carve out my own career for 1 and only 1 reason.  I absolutely love doing what I do.  This is just the tip of the iceburg.  If you knew what kinda personal goals or standards I held myself up to, you'd probably think I was crazy!

You had some cuts on Maceo's CD's?

Funkoverload
Move Ya' Body (Maceo's Groove), Let's Get it On, Uptown Up

Dial:  Maceo
Work to Do, Black Widow

Made by Maceo
Those Girls

And you got noticed by Prince, how was that?

Well, the first time I met him, I was just there at the studio absorbing and not performing, but later that year or the following year, my father's band along with myself went back to perform at Prince's week-long Xenophobia celebration.  I did a rendition of "Pump Ya' Fist."  I was glad we got a chance to do it because I knew Prince would like it.  His type of thang, just as hard and rockish as it is funky, so I was thrilled that he commended me. You seem to work quite a bit with your brother, tell me about him.
Damon is my younger brother.  I don't really know how we started creating together, that's how I know this was all supposed to happen.  It's like, one day, we weren't, and the next day, we were knee deep in trying to churn out songs.  When I first knew that this career was for me and began to write, he was in college in a town about 3 hours away from me.  We didn't even see each other very much then.  But when he graduated, he moved here to Raleigh, North Carolina.

As I said earlier, we don't have any type of formula, but a couple of years ago when he first moved here, we would get together for all night "jam sessions," where he would either bring his keyboard over to my place or some tapes of some of the things that he had created.  I had my "studio," and I use that term very, very loosely set up such that I could be in the closet, the "soundroom" and he could be outside in the control room, and I'd just make up lyrics to the stuff.  Most of it was throwaway stuff and lots of laughing, but every 30 minutes or so, we'd lock into something that would grow and become a keeper.  Some of those "keepers" turned into songs that appear on Subliminal Souls  but most we still have in the vault.  HAHAHA.  I got that term from Prince, but my brother and I do have tons of stuff written.  I am constantly writing on my own, and so is he, so when we get together, we are both anxious to let the other hear what we've been doing.

I'm basically the lyricist.  He might have suggestions, but I come up with all of the lyrics.  It just happened that way.  I would say that he is more of a "hip-hop head" than I am, meaning that he will go and seek out more unknown artist than I will, but I can "feel" everything that he feels and vice versa, and that goes for all genres of music.  I once told someone that musical styles of creation, it's as if we are branches on the same tree.  His branch might go a little bit in a different direction than mine, but we are from the same tree, so we can feel each others material.

Going back through your CD- tell me about ani DiFranco
Tell me about some of the people you have worked with, both in the studio or live
And your influences are?

I spoke about Ani and the others earlier, so I'll speak about my influences.  The best way for me to answer that is to say that I try not to listen TOO closely musically or lyrically to anybody, especially other MC's, because I think it's almost inevitable that I'll "subliminally" (there's that word again) pick up something of theirs, and my originality is what I'm most proud of, but what I do try to do is listen very closely to the overall flavor of their songs and styles and what they project and try to figure out what it is about that song that I like, that makes me relate to it, that makes me "feel" it, and then I try to take THAT element, whatever it may be, and incorporate that into my Neo-Funky/Hip-Hop somewhat Jazzy/Rock style, hoping that the people who listen to my "mentors" will be able to "feel" them in my music but not think that I sound like someone else or am trying to copy someone else.  Hope that made sense!

In no particular order and for lots of varying reasons:  Prince, D'angelo, Bobby Brown, Maceo Parker, James Brown, Sting, Ani DiFranco, Common, Notorious B.I.G, Rakim, Tribe Called Quest, The Roots, Teddy Pendergrass, Cameo, Sly Stone, Michael McDonald....I'm sure I could think of others, but I'll stop there.

What was growing up like, Tell me about your childhood and family life.

We had great childhoods.  My father was gone alot, but it didn't bother us because that's the way it always was, well before we were even born, so that was normal for us. But, his presence was always felt.  I don't know if I mentioned it earlier, but I am sometimes asked if he's a better father or saxophone player, and the easy answer for me is father.  So, that will probably sum it up for you.  I remember during summer vacations we would go out on the road as a family and follow the tour bus in our car, whichever band my father was with at the time, James Brown, Bootsy, George Clinton.  We'd get backstage passes and stand on the stage during the entire show and memorize everything.  It was always exciting.  Interestingly, I use alot of that knowledge now when I put my shows together.  That thought just popped into my head - another one of those subliminal things that I gathered when I was young that is now resurfacing.

Was there anything else you were likely to be, other than in the industry.
I always thought I would be in the business world.  I wanted to carry a briefcase and have important papers.  When I was growing up, I always made good grades, particularly in math and science, so my teachers would always recommend that I become an engineer.  I didn't really know what they did, but after seeing a book of salaries and seeing that theirs was near the top, I chose that as my major for college.  But after going thru the motions, years in and out of college, I found that I had no passion for it.  I'm the type of person who has to have a passion, a thirst, a hunger for what I'm doing or what I have to do, or it will lose my interest, and that's what happened in college.

Any college bands or anything
Try all of them!  I was a 1st trumpet in the marching, symphonic and pep bands at North Carolina State University.  It was fun for awhile but lost it's luster too, probably because it was too fun.  In high school, we marched Corps style, no-nonsense, all formations and music memorized etc., etc., etc., but when I got to State, it was more like a pep band on the field just to kinda have something going on while the teams were at halftime and the audience went to get beer and hotdogs.  I don't know how it is now, but that's how it started to feel to me after a few years.

Anything else you would like say
When you back in the Uk?

Not sure when we're back in the UK.  I know we are coming back to Europe in July, but I don't know if the UK is on the schedule.  I haven't seen it yet.  You might even know before I will.  If you hear or see a date or something, give me a shout.

I'd like to say thanks for your interest and time.  Sorry this took so long.  Maybe years from now, I'll be able to repay you by granting you an exclusive that others will hopefully be dying to get!

Take Care.
Peace.

Corey