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Park was splitting his time between the occasional
DJ slot, working in the record shop and performing
on sax and vocals in a local band. “No-one’s
ever going to find out which one. Ever!”, he
laughs. “Gigs were hard work, because you had
to lug loads of kit around and then split the money
with the band later. With DJing, all you needed was
a record bag and a wallet for the cash at the end
of the night”. Sensibly, he dropped the job,
quit the band and embarked on his DJing career.
Securing a slot at Nottingham’s Garage Club
was pivotal in Park’s rise to fame. He began
to play regular sets in the club, using tuntables
which, quite frankly, were more suited to a gramaphone
than a serious venue. Park was using the aforementioned
decks to try and emulate the likes of Grandmaster
Flash. Unaware that mix albums were cut together in
a studio rather than produced live, he furiously tried
to reproduce the same effects – but with limited
success.
It was during one of these frantic scratching and
cutting sessions that Northern promoter-guru Jonathan
Woodliff spotted Parks talent, and remarked that he
might find it easier to play if he get a pair of Technics
1200s. Park improved. It was only after a return visit
from Woodliff that Park also realised the fairly crucial
need for slipmats. Park improved further.
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