Various - Techno! The New Dance Sound Of Detroit Album

A genre defining compilation at the time, which helped to shape a lot of people musically, including me. Some of you slating tracks from it, were you even around and hearing them in the clubs & party’s or just spouting your ‘opinion’ based on nothing but your ‘taste’ some 30 years later? Every single one of the tracks on this album played it’s part, nobody cares about your opinion. ????????????????

The only weak side to this compilation is Members Of The House - 'Share This House'. It really shouldn't have been included on this LP.

I agree that it's funky (as only Detroit can do), but the somewhat tacky vocals spoil it for me. The House mix on the 12" version is a lot better and nearly all instrumental.

Each to his own but Members Of The House - 'Share This House' is one hell of a techno funk groove and 100% deserves to be on this compilation! If you can't feel the vibe in this groove you need to get your ears tested...

Also agree. Regardless who the artist/s are or are not. Not only the Members Of The house track shouldn't have been included on this comp, it's so rubbish it shouldn't be included anywhere on any comp or release. Cheesy, tacky crap as far as I'm concerned . To be honest, I think side D is also a waste of vinyl space. Never liked mashup mixes of the same tracks (already featured) on comps and still don't. I realise the label might've had restraints due to lack of material available and in trying to get the record pressed and out to the wider public, but still. Might aswell contain a blank side as far as I'm concerned. Share My House is still rubbish though. The rest of the LP is a classic.

I think you're getting confused? Derrick Carter is actually from Chicago.

digitalsoul1973 is indeed correct. Nothing to do with Chicago's Derrick Carter. Members Of The House have actually included various writers, singers and producers throughout the years 1987 - 1995 : https://www.discogs.com/artist/7823-Members-Of-The-House .

There's been plenty of members of that group, but not sure Derrick Carter was ever one.

Yes agree - actually a very early pseudonym of Derrick carter ????

Of course Inner-City* Featuring Kevin Saunderson Big Fun is a classic...Back then and now..But then came this comp!Thanks Neil RushtonOur 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! ;)Peace..

Purchase at Buyrite in Detroit when it first hit the shelves. This LP changed my life. Will always be one of my favorite records.

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!

Very Nice posting. Thanks for your insight. I wish they had the material to do a documentary on this time in Detroit. High Tech Soul was cool, but I don't feel it captured the essence that movies like Maestro, Pump up The Volume, and others.

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!

Of course. This, the original version in my opinion, is the better version of the two. Should've had its own release. I like the 12" Transmat version as well. But if the other two tracks 'It Is What It Is' and 'Beyond The Dance' weren't there to prop it up somewhat, that release would never had been an all time classic as it still is.

But don't forget that the A Tongue & D Groove version of 'Feel Surreal' is the first original version.For those that don't know, A Tongue & D Groove = (A)nthony "Shake" Shakir & (D)errick "Mayday" May.

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.

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 http://www.discogs.com/Cybotron-Techno-City/release/19657 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...

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.

It seems ridiculous to be arguing about who invented the word "techno." Obviously, no one is classifying New Order, Depeche Mode, Kraftwerk, Heaven 17, and Front 242 as techno anymore. It is probably best to think of "techno" as two words -- the early and poorly defined "techno" whose meaning has died out and the modern "techno" whose meaning continues define a specific musical genre to this day. "Techno! The New Dance Sound Of Detroit" was the first incarnation of the modern "techno" and it should be celebrated for that.

I must say that the first time I came across the term "Techno" was on the 1982 self titled LP by Man Parrish. The track was on side 2 & was called "Techno Trax", this was straight out of the New York electro scene and was massive (Electro Beats will always kick yo ass mofo) So I'm quite sure that the good ol' US-of-A was fully aware of the term "Techno" before it filtered through the stratosphere to Europe. As for the "Sound Of Detroit" LP, this introduced me to the mind of Derrick May (Rhythim is Rhythim) for which I am eternaly grateful, it also includes the exclusive rarity that is Kevin Saunderson's "Electronic Dance"(K.S. Experience) which will rip up any dance floor to date....PERIOD. It also includes various gems by Blake Baxter, Eddie Fowlkes and the one and only Juan Atkins, this really is a top quality Techno LP. So get yer Techno trousers on and start 'aving it LARGE!!!!!Banging beats for a banging nation....U NO THE SCORE BROTHERS & SISTERS, GET DOWN..... PS.- It's Mr Atkins to you sir....Mr Juan Atkins, Godfather of Modern techno music as we presently, and always will know it, let's show some respect for a true innovator, a true legend, blessed by God....Juan.

The concept of techno as genre of music in the US goes back to 1990. I should know as my brother Frankie Bones and I created the scene for it in NYC in April of 1990 with us opening the first all techno shop called "Groove Records" in Brooklyn. I'm not sure where you get the "earliest 1991" from. Bones was already djing Manhattan clubs like Quick which was Mark Kamins club back in Summer of 1990 playing only techno. Also Bones had "Call It Techno" out in 1989. As for Talla 2XLC that is a valid point as far as a being called genre before Detroit techno came around but it was a regional genre to the Frankfurt Area, the genre name never caught on globally like Detroit Techno did.

Can't argue with that man...LOL!!!

Everyone has their own take on what is what, and everyone is entitled to debate the subject between themselves, as long as it's constuctive and not abusive......take note BUNKERHEADZ.....

Grow up and shut up if you aint got anything worthwhile to say fool, engage your brain before opening your mouth, you need to sift through the history of electronic music before you comment on things you know nothing about....new beat my arse, try starting in the '60s & '70s......

1000 apologies to u gerasoulis94, this comment wasn't directed at u, but at the retard BUNKERHEADZ, and yes, "aint" is an English word. Lol!

This is such great input. It really contradicts everything that I wrote. Lol

Grow up and shut up if you aint got anything worthwhile to say fool, engage your brain before opening your mouth, you need to sift through the history of electronic music before you comment on things you know nothing about....new beat my arse, try starting in the '60s & '70s......

The concept of "Techno" as a music genre was not heard of in the Unites States until the earliest 1991. If we were to take any usage of the word "Techno" prior to Talla 2xlc then we might as well link the "Techno Twins" as an even earler source than Man Parrish. They are totally irrelevant to what the style of music called "Techno" is. The music Saunders, Atkins, and May wrote are not recognized as innovators of "techno" music in Europe. Basically the music they wrote was EBM. It is like trying to say that the NFL in the Unites States is "Football" to the rest of the world. Techno music is the style of music that includes a heavy synth sound, with a hammering beat- a sound Created in Germany BY European- Germans. Examples of this are in the works of Talla's Robotiko Rejekto project, Talla's Bigod 20 "Body to Body" track ,the Techno Freaks "IBiza", tracks written and produced well before Detroit!. These early (80's) tracks are perfect examples of what the dictionary meaning of Techno music is. More samples of what Techno music is to the world ( Besides the USA) are tracks like Intact - Acts of Sensation, O- Das Spiel , Recall IV- Contrast, Age of Love- Age of Love, Atahualpa- Ultimo Imperio, Time Modem- Mantel Der Nacht and many more. Talla is finally being officially honored for being the first to open a "Techno" club and the first to coin the term "Techno" as a music genre. We all hail the man, Andreas Tomalla ( TALLA 2XLC) for giving the world "Techno " music.

Although this might be the so-called start of the Detroit sound of Techno it had basically no significance in the United States. The album itself is mediocre at best. It is quite safe to say that a music genre called "Techno" was already in existance in Germany for quite some time before Atkins "introduced it" in the United States. Talla 2xlc (ANDREAS TOMALLA)the "FATHER OF TECHNO" had coined the word as early as 1984. Before Atkins there was surely Talla who was the creator of "Moskwa TV (with tracks like "Tekno talk" in 1987), Robotiko Rejekto (which released "Rejekto" under "Techno Drome International- the first only Techno label- in 1987, a FULL YEAR before Techno! The new dance sound of detroit), Bigod 20 and many more projects. While Techno! the new sound sound of detroit could barely get an audience, Talla's "Techno Club" became world famous. Techno! The new sound of detroit will barely be a footnote in history. Talla on the other hand IS History. The true "Father and Creator of "Techno". None came before him.

This compilation was concieved and put together by Neil Rushton (later owner of the Kool Kat/Network labels), and was originally going to be called " The New House Sound Of Detroit" and was only changed after Juan Atkins brought in the tune ' Techno Music' that the title was changed. They actually had trouble finding tracks for the album that were good enough, and fitted the vibe, and nearing the release were still 2 tracks missing. Derrick May recorded 'ItIs What It Is' especially for this album (although he later released in on Transmat). They were still one tune short when Kevin Saunderson brought in a box full of tapes of tracks he'd made, 'Big Fun' was in there, and the rest is history.

This is an important album for anyone interested in the history of techno, as well as the direction of Detroit. While so many of you in Europe & the rest of the world recognize its signifigance, here in America it is still so unknown that I found this album in a bin at a second-hand clothing store for $0.25 (£0.14) B-Bax does shine on this album, & it makes me wonder why he, like ADT, still ended up like a little brother to the Belleville Three. Saunderson is also excellent, especially Electronic Dance & Big Fun. If his sound were dated, he would not continue to be at the forefront today.

Once again, this compilation is great, especially the Blake Baxter tracks... I don't think they are underproduced, the production standards nowadays are far better than 1988. Despite there are hits like "Big Fun" it contains more funk than the most recent output from detroit. Oldskool detroit in all his directions rules, it's strenght is definitely being creative and made with spirit in spite the lack of proper production equipment...