Various ‎– Techno! The New Dance Sound Of Detroit

Originally to be called "The House Sound Of Detroit," this mid-1988 compilation's final title, liner notes, and accompanying press coverage marked the pivotal moment that a Detroit-based wave of futuristic dance music with a myriad of influences was defined as a genre unto itself: "techno." This definition, credited to Brit Neil Rushton and further expounded upon by Stuart Cosgrove, is the one that stuck, but of course it is not universally agreed upon, as demonstrated in the comments on the various editions shown here.


Rythim Is Rythim* It Is What It Is 5:36
Blake Baxter Forever And A Day 5:36
Eddie "Flashin'" Fowkes* Time To Express 5:41
K.S. Experience Electronic Dance 6:36
Members Of The House Share This House (Radio Mix) 5:56
A Tongue & D Groove Feel Surreal 6:55
Mia Hesterley Spark 6:09
Juan* Techno Music 7:20
Inner-City* Featuring Kevin Saunderson Big Fun 7:39
Blake Baxter Ride Em Boy 7:02
Shakir* Sequence 10 5:20
Idol Making Un, Deux, Trois 6:05
Various Detroit Is Jacking (The Techno! Megamix) 13:49


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June 10, 2017
edited 4 months ago
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, DIXG 75

Of course Inner-City* Featuring Kevin Saunderson Big Fun is a classic...

Back then and now..

But then came this comp!

Thanks Neil Rushton

Our faves were...

Rythim Is Rythim* It Is What It Is.. Ambient and head chilling!
Blake Baxter Forever And A Day... Those strings or whatever they were...More please of them!
Blake Baxter Ride Em Boy.. A cold pumping tune!
A Tongue & D Groove Feel Surreal.... Sounds that made you forget what you were doing !
Idol Making Un, Deux, Trois... This used to weird us out in a good way!... Stark!
Juan* Techno Music..... Something else! A very something else...

And so so many more shaped my then little knowledge of what on earth was going on!
The pills helped too!
But that was later in 89!
Back in 88 it was one beer and many spliffs between us 3 teenagers from a tiny bedroom that was more like a space ship than mere sleeping quarters!

The world is flat?
Hmmmm maybe maybe not... ---- ....()....

It is what it is!

Either way music shapes it! And us....
Either way it helps us does it not?

We're having BIG FUN! ;)




October 2, 2016
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, DIXG 75
Purchase at Buyrite in Detroit when it first hit the shelves. This LP changed my life. Will always be one of my favorite records.


September 27, 2015
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, 303 322-406
It's not often a compilation is one of the most important records ever made....
It's the key that opened many doors


May 7, 2013
edited over 4 years ago
referencing Techno! The New Dance Sound Of Detroit, CD, Comp, DIXCD 75

This is a very overrated compilation that gets older everytime I listen to it. I agree with mjb that many of the tracks sound like house and are very dated tracks. Listen to Black Baxter - Forever And A Day or K.S Experience - Electronic Dance which are some of the tracks I least liked from this compliation. They get older, older and older the more times I listen to them. Not saying this compilation is bad. Some tracks like Rythim Is Rhythim - It Is What It Is and Juan - Techno Music while nearly as outdated as pretty much everything in this compilation are quite enjoyble and are still somewhat nostalgic. And let's not forget about Inner City - Big Fun which is considered one of the most commercially successful techno tracks in the history of the genre. Not a bad CD to pickup mainly because it has quite a bit of history.


September 1, 2012
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, DIXG 75
It is important to get this compilation in context. It is an indulgence on anybody's part to assume Niel Rushton was at all claiming a 'discovery' or 'branding' of the genre 'Techno'. He was and still is a reveered Producer, Journalist, DJ and knowledgable ambassador for music, period.... And it was his immense passion and connections in Detriot from his years of playing and importing as A&R/Liason man of Rare Northern Soul Records that Detriot Techno (Of which Motown shared the same home) was naturally baught to his attention in the 80's in it's early incarnation by the music community who he knew intimately over years. It is true the terminology of 'Techno' and it's elements (as all nearly electronic music) originated in those early european clubs but 'Detroit - Techno' had deffinative unique elements of that 'Motown-Jazz Funk Fusion' sounds that are added to the pure electro sounds of the european influence, of which, was and is a huge influence on the ears of Juan Atkins, Eddie Fawlkes etc....... This is just one man's love of the music evolving and coinciding within the the same city of which he has been an ambassador for more than many of us can remember....PEACE!


August 7, 2012
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, DIXG 75
Only now, years and years later do I realise A Tongue & D Groove's "Feel surreal" is just a remix of Rhythim Is Rhythim's "Feel surreal" (Transmat MS6) - doh!


May 29, 2012
edited over 5 years ago
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, DIXG 75
While some of the tracks have, indeed, a housey feel to them (especially Share this House), the production should be taken for what it is. It's not like high quality recording equipment was exactly affordable to the average youth in the 1980s.

The KS Experience track is full of energy.


April 27, 2012
edited over 5 years ago
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, DIXG 75
Nobody least of all Juan Atkins would denigrate the role of Germany in experimental electronic music, this whole argument about the origination of the term 'techno' is specious. Cybotron released 'Welcome To Techno City' in 1984 and it was on one of the early UK Streetsounds Electro compilations, as that's what we were calling this music in the UK at that time. But it was in reference to Kraftwerk, as anyone who has heard the Cybotron LP will attest, as that's what fired their imaginations in Detroit back then.
As has also been stated below Network Records Supremo, Neil Rushton, dreamed up the name 'Techno: The New Dance sound of Detroit' to differentiate this compilation from Motown, which at the time would have been of course synonomous with 'the dance sound' of Detroit and Juan called it 'Techno' to distinguish it from what was coming out of Chicago at the same time. Ultimately these are just terms used by marketing men at various times to sell records. If you read the sleeve notes to this and the partnering 'Retro Techno: Detroit Definitive' compilation from a couple of years later, there is no debate about any of this. Respect is given where it's due. The fact that nobody took any notice of this compilation in the USA at the time is also well documented, but it wouldn't exactly be the first time an American artist had become well known in the UK before breaking it in their home country, or indeed vice versa...
This is a totally seminal slice of electronica or whatever you want to call it now, and definitely should be high on anyone's list. It may sound dated in parts given what happened since but I guess nothing dates so quickly as the future...


May 13, 2010
edited over 7 years ago
referencing Techno! The New Dance Sound Of Detroit, 2xLP, Comp, DIXG 75
Sorry, but this Talla 2XLC propaganda nonsense this guy gerasoulis94 (see below) is spouting is just plain silly. Watch the German documentary "We Call it Techno" if you doubt this, authoritative German sources on the matter spell it out plain as day. Talla states that at a record store he worked in, City Music @ Frankfurt's Central Station, he placed records by acts including New Order, Depeche Mode, Kraftwerk, Heaven 17, Front 242 in one category and called it all techno. He then opened 'Technoclub' in 1984 on Sunday afternoons @ Disco No Name. In 1987 Technoclub moved to the airport based disco Dorian Gray, where it became the centre of the Electronic Body Music (EBM) scene. Jurgen Laarman, of the electronic music fanzine Frontpage stated that 'Technoclub' had historical merit in being the first club in Germany to play almost exclusively electronic music, but it was more or less an underground thing for suburban kids, "it was never really hip to go there". Laarman stated that the music Talla was calling techno, everyone else, particularly those in Berlin, were identifying as Industrial and EBM. In the late 80s Frankfurt was still stuck with Industrial and EBM (Talla's techno) while Berlin was moving forward by embracing Acid House and the early Detroit techno.In Berlin they started using the term 'technohouse' to distinguish from Talla's Frankfurt based definition. Later the word Tekkno came to replace 'technohouse'. The first real techno club in Germany was started by DJ Tanith in Berlin, 1989, Cyberspace @ UFO, Wednesday nights. In Spring 1990 Tanith and Wolle X.D.P held the first large techno parties in East Berlin called Tekknozid. At that time the Technoclub in Frankfurt was something totally different, it was an EBM/industrial night. In Germany, during that period the definition of Techno was contested, it was essentially a Frankfurt EBM old-school conception versus the Berlin progressive take that was inspired by Chicago and Detroit. Finally, don't forget that Juan Atkins released 'Techno City' in 1984, Junie Morrison's 12" Techno-Freqs also came out in 1984, earlier we had Man Parrish's 'Techno Trax' in 82, and earlier still the Japanese electronic act Yellow Magic Orchestra's album 'Technodelic' in 1981. Talla is just some guy who bundled all early 80s electronic into one category, and called it techno, because, as he says, the music was made using electronic technology.