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Blake Baxter - When We Used To Play - KMS - Detroit Techno

Blake Baxter - When We Used To Play - KMS - Detroit Techno
Price £22.00

Track Listing

A1 When We Used To Play
A2 Get Layed
B1 Body Work
B2 Does Not Compute


Media Condition » Very Good Plus (VG+)
Sleeve Condition » Generic
Artist Blake Baxter
Title When We Used To Play
Label KMS
Catalogue KMS 011
Format Vinyl 12 Inch
Released 1987
Genre Detroit Techno

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Other Titles by Blake Baxter

Deep N Da Groove (Remix)Reach OutTouch MeBlake Techno!Brothers Gonna Work It OutCrimes Of The HeartEP - Sexuality - Hornie On Da Hard House EpOne More TimeOne More TimeOne More TimeOne More Time (Archiv #06)Sexual DeviantSexual DeviantWhen We Used To Play / Work


Some Other Artists in the Detroit Techno Genre

Underground ResistanceSuburban KnightRisque IIIOmar-SRandom Noise GenerationSteve PoindexterTheo ParrishInner CityAux 88Bottom Feeders, ThePhase90Andrew AshongParis Vintage FutureBileebobFascinating RhythmVenomousPsycheModel 500 / MaydayK.O.T.The Martian3MB & Juan AtkinsEMBRobert Hood & FloorplanJeff MillsPsyance2 The Hard WayTerrence ParkerFlexitoneOpen House & Placid AnglesKloutRhythim Is RhythimTres DementedR-TymeMartian 044DeepChordGeologyX-RayCan / Carl CraigAudio Tech & Triple XXX

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Some Other Artists on the KMS Label

Inner CityBottom Feeders, TheEMBToday's PeopleReeseMembers Of The HouseTronik HouseEsser'ay & Kosmic Messenger & Chez DamierMarc KinchenDionneInner City & Chez Damier & E-DancerKreemMiller & Scott ProjectFixReese & Inner City & Symbols & Instruments & Marc KinchenChez DamierE-DancerReese & Santonio & Kevin Saunderson & TronikhouseTronikhouseEsser'ay

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Information on the Detroit Techno Genre

Detroit techno is an early style of electronic music beginning in 1980s. Detroit has been cited as the birthplace of techno music. Prominent Detroit Techno artists include Juan Atkins, Derrick May, and Kevin Saunderson. A distinguishing trait of Detroit techno is the use of analog synthesizers and early drum machines, particularly the Roland TR-909, or, in later releases, the use of digital emulation to create the characteristic sounds of those machines.

Detroit techno music was originally thought of as a subset to Chicago's early style of house. However, some critics believe that the Detroit techno movement was an adjunct to house music, named for the new style of music played at a Chicago nightclub called "The Warehouse". Although producers in both cities used the same hardware and even collaborated on projects and remixes together, Detroiters traded the choir-friendly vocals of House with metallic clicks, robotic voices and repetitive hooks reminiscent of an automotive assembly line. Many of the early techno tracks had futuristic or robotic themes, although a notable exception to this trend was a single by Derrick May under his pseudonym Rhythim Is Rhythim, called Strings of Life. This vibrant dancefloor anthem was filled with rich synthetic string arrangements and took the underground music scene by storm in May 1987. With subtle differences between the genres, clubs in both cities included Detroit techno and Chicago house tracks in their playlists without objection from patrons (or much notice by non-audiophiles).

The three individuals most closely associated with the birth of Detroit techno as a genre are Juan Atkins, Kevin Saunderson and Derrick May, also known as the "Belleville Three". These three high school friends from the Detroit suburb would soon find their basement tracks in dancefloor demand, thanks in part to seminal Detroit radio personality The Electrifying Mojo. Ironically, Derrick May once described Detroit techno music as being a "complete mistake...like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.

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