Various ‎– Techno! The New Dance Sound Of Detroit

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10 Records ‎– DIXCD 75
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CD, Compilation
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1 Rythim Is Rythim* It Is What It Is
Edited By [Edits By] – Juan*Producer, Mixed By – Mayday
6:45
2 Blake Baxter Forever And A Day
Mixed By – Master Reese*Producer – Blake Baxter
5:39
3 Eddie "Flashin'" Fowkes* Time To Express
Mixed By – Eddie "Flashin'" Fowkes*, Magic Juan*Producer – Eddie "Flashin'" Fowkes*
5:44
4 K.S. Experience Electronic Dance
Mixed By – Master Reese*Producer – Kevin Saunderson
6:40
5 Members Of The House Share This House (Radio Mix)
Engineer – Rufus HarrisMixed By, Edited By – The Cutting Board Inc.Producer – Don Davis (2)
4:26
6 A Tongue & D Groove Feel Surreal
Edited By [Edits] – StoneyMixed By – MaydayProducer – A Tongue, D Groove
6:58
7 Mia Hesterley Spark
Mixed By – Master Reese*Producer – Kevin Saunderson
6:12
8 Juan* Techno Music
Mixed By – Magic Juan*Producer – Juan Atkins
5:45
9 Inner-City* Big Fun
Featuring – Kevin SaundersonMixed By – Magic Juan*Producer – Kevin SaundersonVocals – Paris*
7:42
10 Blake Baxter Ride Em Boy
Edited By [Edits] – Juan*Mixed By – MaydayProducer – Blake Baxter
6:28
11 Shakir* Sequence 10
Mixed By – A Tongue, Shakir*Producer – Anthony Shakir
5:22
12 Idol Making Un, Deux, Trois
Mixed By – Master Reese*Producer – MaydayVocals – Blake Baxter
6:06

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Credits

Notes

© 1988 10 Records Ltd. ℗ 1988 10 Records Ltd.
All tracks licensed from ZTSE.
Manufactured in W. Germany

Title is displayed as 'Techno' (without exclamation) on front.

Barcode and Other Identifiers

  • Barcode: 5 012982 507540
  • Matrix / Runout: SONOPRESS C-2879/DIXCD 75 B

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achuter

achuter

November 16, 2018
Stuart Cosgrove's liner notes:

think of detroit and you automatically think of motown, but be careful not to think too loud because the new grandmasters of detroit techno hate history.

juan atkins, 26 years old, and the self proclaimed captain of the techno sound is an articulate enemy of motown's supreme being. "berry gordy built the motown sound on the same principle as the conveyor belt at the ford plant. today the automobile plants use robots and computers to make their cars and i'm more interested in fords robots than gordy's music."

techno music is unashamedly modern in it's out-look. it is a mesmerising underground of new music which looks to the future, breaks with the past and blends european industrial pop with black american garage funk. according to derrick may, the immensely gifted young producer who works under the pseudonyms rhythim is rhythim and mayday, his music goes "beyond the beat". it is not simply dance music but a series of sound experiments that often defy the logic of more uncomplicated dance sounds like chicago house.

the origins of techno date back to the late 70's to the supressed identity of european synthesiser groups like kraftwerk and yello and to british electronic funk groups like heaven 17, new order and the human league. their music established the synthesiser as the creative core of new music, encouraging a whole generation of young musicians to turn their basements into makeshift studios. unknown to europe the ears of black america were listening with increasing facsination reversing the age-old flow of musical influence.

in west detroit, juan atkins a student at the city's belleville high school and an obsessive fan of kraftwerk, began to compose basic drum patterns on an old roland d115 eventually graduating to more complex synthesiser tracks which borrowed heavily from europe.

juan's first group cybotron released several records at the height of the electro-funk boom in the early 80's, the most succesful being a truly progressive homage to the city of detroit simply entitled 'techno city'. at the time he believed the record was a unique and adventurous piece of synthesiser funk, more in tune with germany than the rest of black america, but on a dispiriting visit to new york, juan heard afrika bambaataa's 'planet rock' and realised that his vision of a spartan electronic dance sound had been upstaged.

he returned to detroit to renew his friendship with 2 younger students from belleville high, kevin saunderson and derrick may, and quietly over the next few years the three of them became the creative backbone of detroit techno.

most of the tracks on this lp are the work of the belleville 3, juan's 'techno music' and the kevin saunderson experience's 'electronic dance' reflect the basic studio beat of techno, whilst derrick may's rhythim is rhtyhim track takes the music into the most unlikely areas turning new age ambience and film-soundtrack instrumentation into complex dance music.

derrick may is undoubtedly the philosopher of techno! he sees the music as post-soul and believes it marks a deliberate break with previous traditions of black american music. "the music is just like detroit" he claims, "a complete mistake, it's like george clinton and kraftwerk are stuck in an elevator with only a sequencer to keep them company."

amidst the experimental strangeness of this album are other more obviously commercial dance records. 'share this house' by members of the house which actually features george clinton as an uncredited visiting producer, takes its main influences from the chicago jack virus.

inevitably the detroit techno sound will be compared to the music of the nearby city of chicago,a problem that neither angers nor concerns the producers of techno! blake baxter, detroit's soft spoken sex symbol, and the whispered mind behind the promiscous 'ride em boys', has already had several hits in the chicago area, and derrick may's best known records to date - 'nude photo' & 'strings' - were instrumental in taking chicago's music into the abstract and lysergic mood now described as 'acid house.'

but derrick believes there's a huge differance between chicago house and detroit techno! "it's a question of respect, house still has it's heart in 70's disco, we don't have any of that respect for the past, it's strictly future music. we have a much greater aptitude for experimentation."

techno is undoubtedly the music of detroit but it has none of the latter day optimism of motown. the city is reflected in the music in an unsettling way. "factories are closing and people are drifting away" says derrick, "the old industrial detroit is falling apart, the structures have collapsed. it's the murder capital of america. six year olds carry guns and thousands of black people have stopped caring if they ever work again. if you make music in that environment it can't be straight music. in britain you have new order, well our music is the new disorder."

techno's sudden shift of tempo and relentless war on familiarity makes it sound like free form jazz for the computer era. it may well be the music of the new disorder but it promises to join george clinton's funkadelia and prince's minneapolis sound as one of the most experimental forms of music black america has ever produced.
2trancentral

2trancentral

January 20, 2015

The first techno CD ever, legend.
Weareonenation303

Weareonenation303

May 7, 2013
edited over 5 years ago

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.
mjb

mjb

September 27, 2009
edited over 5 years ago

Although its importance in the history of dance music, and of techno in particular, cannot be understated, this incestuous compilation is not exactly brimming with the most innovative sounds and engaging compositions. With the exception of the #1 club hit Big Fun, the tunes are not very well constructed or at all memorable, perhaps a reason why it only attained modest sales when it was new.

Listeners may be further surprised to hear how housey and dated the tracks are. This situation largely owes to the fact that the fledgling Detroit aesthetic, at the time, was nearly overwhelmed by the influence of the house music of nearby Chicago, and by 1988, repetitive, incongruous samples were all the rage. In fact, the word Dance in the album title was originally going to be House until the last-minute inclusion of the song Techno Music, a Speak-n-Spell sample-laden electro-house demo which is cute, but hardly a gem in the Juan Atkins repertoire.

Further detracting from the listening experience, at least with headphones, is the fact that 7 of the 12 tracks, including Big Fun, are recorded in mono, their only stereo content seeming to be just artifacts of analogue transfers.

Nevertheless, the tracks on this compilation fit right in with the rest of the 1987 and 1988 releases by the same crew, and it clearly inspired UK producers like Bizarre Inc, Nexus 21, and A Guy Called Gerald.
phase_

phase_

July 30, 2008
It is pretty much accepted that Techno, the Electronic Dance music genre born in Detroit, USA during the eighties, has on its essence a combination of Sci-Fi (Science Fiction) elements and African-American Music heritage spread mainly through the sounds of Motown and the like, from Jazz to Soul, Funk & Disco.
Transformed into a whole artistic movement, it was meant to be avant-garde music made by the young students Juan Atkins, Derrick May, Kevin Saunderson, Eddie Flashin' Fowlkes, Blake Baxter, Anthony Shakir, among other pioneers. All the mentionned artists are part of this amazing compilation 'Techno - The New Dance Sound Of Detroit'. Released in 1988 under the supervision of Neil Rushton, it would change the course of Techno forever.

Techno is a Movement guided by cultural essences, but also by these kids’ desires, dreams and imaginations about the Future. Among the first evidences of this futuristic influence can be found on the 'Techno Rebels' expression, part of one of the main books of the Sci-Fi writer Alvin Toffler - "Future Shock" - about the impact of the new Technologies. That book had a very significant influence on Juan Atkins (known as the Godfather of Techno) early works, suggesting the use of the term 'Techno' as the title of a new upcoming musical genre.
If this Afro-American legacy left by the references of Jazz, Soul & Funk excerced a definitive impact on the new born Techno music, Science Fiction offered essential elements as well, and this is the main reason why Techno is different from any other form of Electronic Dance Music. This Sci-Fi inspiration did not imply on the existing technology necessarily, but on the whole idea of Future imagination. It was about dreaming, about trying to foresee an entire new reality, which resulted on the first electronic music genre that systematically made use of Sci-Fi expressions, and usual Astronomy terms. Some good examples can be found on Cybotrons's early music on Deep Space Records such as "Cosmic Cars" (and the proper name of the project itself, taken from the same book "Future Shock" by A. Tofler), at the same time suggesting a love heritage for Science Fiction like was on the P-Funk era of Parliament-Funkadelic and the whole Electro movement connected to the Break Dance (which also used several Sci-Fi music titles).

In fact, Techno used that Sci-Fi Soulful combination as a model, but went toward new directions comparing to the other genres mentionned before, from new synth timbres to new standards, patterns and ways of music conception - all present on this amazing selection. Through the music, visual arts and other forms of human engagements, Techno would stand as a testament of a Movement created not only through Music but as a more holistic artistic perspective.

Arguably considered the first major compilation of the genre, "Techno - The New Dance Sound Of Detroit" (1988) was compiled by the music expert Neil Rushton (whose career included a place inside Virgin Records staff and later as the head of Network Records). Neil was briliant in compiling a testament of the upcoming futuristic sounds of Techno that would influence not only Europe but the entire planet since then: Juan Atkins, Derrick May, Kevin Saunderson, Blake Baxter, Eddie Fowlkes, Anthony Shakir would all take part of this selection with tunes of quality and an accurate sense for the future of the dance music.

The release of this compilation is considered on of the major chapters of the history of Techno and an event with almost no parallels on the genre. It is said that the last choosen tune was "Big Fun" (1987) by Inner City, a project made by Kevin Saunderson with the vocalist Paris Grey (which got the collaboration of two other major names of Techno - James Pennington and Art Forrest). "Big Fun" became one of the milestones of Techno and invaded all the radio & DJ charts since 1988, acquiring the status of a major Techno hit all time. "Techno - The New Dance Sound Of Detroit" also brought Derrick May's supreme masterpiece "It Is What It Is" for the first time on a compilation; it was released the same year as the single itself.

Alain Patrick, Aug 31, 2007
Snork12000

Snork12000

November 7, 2007
A must for any serious techno collector, and incidentally, the first time ever that the term 'techno' was used on a commercial album release.

It's roar, original techno, Oldskool pure and simple. If you haven't heard it then you haven't really experienced techno.

Quote
Legend has it that when Ten Records in the UK wanted to release their famous compilation of Detroit underground dance music in 1988, the Belleville Three were asked to come up with a name to differentiate the Detroit sound from the one happening simultaneously in Chicago. Atkins insisted that his music be called “techno” and needless to say, it stuck, giving the movement its name and making Atkins the default “Godfather of Techno.”

jansq

jansq

July 17, 2003
This was one of the first Detroit techno records ever exported from the US. A representative of the record company came to visit Derrick (May) in Detroit and compiled a "who´s who" album of Detroit techno masters. The last track to be put on this album was Inner City´s Big Fun which became an enormous hit.
More inside scoop on this issue and the techno scene´s birth in general can be found in the excellent book "Techno rebels" by Dan Sicko. If you´re into early techno, it is a must-read! I´ve just finished it and it was brilliant!
nfit

nfit

November 3, 2002
This is seminal compilation. Legend has it that the artists were asked how to distinguish their music from the sounds coming from Chicago and Juan Atkins said call it Techno, giving birth to the term. Supposedly Derrick May was against it.