for real this time! best RHYTHIM IS RHYTHIM record (poll ends 2007-05-10)

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i included the wiggin and nude photo 88 records derrick may did as mayday because those tracks ended up on innovator and are also dope.

i also included R-Theme because it's awesome and Use Me because if i include one r-tyme i can't exclude the other. and also relics. and x-ray. and serenity even though i've never even heard it.

happy now mike?

Poll Results

Option	Votes
Strings Of Life	9
It Is What It Is	3
Nude Photo '88	3
The Beginning	3
Beyond The Dance	2
Icon / Kao-tic Harmony	2
Wiggin	2
Illusion / R-Theme	2
Serenity	1
Nude Photo	1
Relics	0
Use Me	0
X-Ray - Let's Go	0

― lfam, Sunday, 6 May 2007 19:39 (eighteen years ago)

ok, i do like strings of life, a little

― ☪, Sunday, 6 May 2007 19:42 (eighteen years ago)

I voted for R-Theme though Wiggin' is a close second (esp. the Juan Atkins mix).

― Capitaine Jay Vee, Sunday, 6 May 2007 20:23 (eighteen years ago)

"Beyond the Dance" is best, for me.

― Ronan, Sunday, 6 May 2007 20:25 (eighteen years ago)

Me too.

― Spencer Chow, Sunday, 6 May 2007 20:29 (eighteen years ago)

I often think that it should actually be called "Strings of Life"!

― Spencer Chow, Sunday, 6 May 2007 20:33 (eighteen years ago)

I've never really gotten "Strings of Life", felt kinda juiced dry (perhaps by rip offs/samples/similar ideas) by the time I even heard it.

*hides from barrage of abuse*

― Ronan, Sunday, 6 May 2007 20:34 (eighteen years ago)

do like derrick did and listen to the opening piano loop for hours on end

― lfam, Sunday, 6 May 2007 20:37 (eighteen years ago)

or the ambient mix from relics

― lfam, Sunday, 6 May 2007 20:38 (eighteen years ago)

haha, finally a poll that makes it difficult for me to choose!

― lfam, Sunday, 6 May 2007 20:39 (eighteen years ago)

for years i had 'Nude Photo' and 'Salsa Life' mixed up because of stupid Muzik CD tracklisting. 'Salsa Life' is the one with the Alison Moyet laugh right? not that it's relevant here i guess - went for Beyond The Dance.

Icon is under-rated.

― blueski, Sunday, 6 May 2007 21:16 (eighteen years ago)

nude photo has the laugh, salsa life re-uses some notes from strings of life.

― lfam, Sunday, 6 May 2007 21:17 (eighteen years ago)

The Dance is not listed, and nor is the ambient version of Strings of Life, so I'm going for Icon. I did have a long love affair with Illusion back in the early 90's.

― moley, Sunday, 6 May 2007 22:14 (eighteen years ago)

best rhythim is rhythim RECORD, not SONG

― lfam, Sunday, 6 May 2007 22:29 (eighteen years ago)

ambient strings of life is on relics btw

― lfam, Sunday, 6 May 2007 22:30 (eighteen years ago)

the guy who turned me onto Detroit said he wants ambient strings of life played at his funeral.

I vote for It Is What it Is.

Though the Beginning is close, mostly for Drama.

Relics is an easy answer though, and the Carl Craig and other tracks are amazing, especial Juan's Infoworld.

― dan selzer, Sunday, 6 May 2007 22:52 (eighteen years ago)

Wiggin

― the table is the table, Sunday, 6 May 2007 23:06 (eighteen years ago)

I agree with Selzer about Drama, that one always stays in the crate.

I am going to break the rules and nominate this bootleg as my favorite Derrick May related release. His Mayday remix work is vastly underrated. Sides a,b,and c are total dynamite.

http://www.discogs.com/release/509318

― Display Name, Monday, 7 May 2007 04:14 (eighteen years ago)

haha, finally a poll that makes it difficult for me to choose!

-- lfam, Sunday, May 6, 2007 3:39 PM (Yesterday)

you must have missed nougat vs. hummus

i voted wiggin but could go w/ any number

― deej, Monday, 7 May 2007 14:35 (eighteen years ago)

What about "Dreams of Dreamers"? According to Discogs, it only appears on Innovator, so I guess it's a song rather than a record. In lack of that I have to go for "Nude Photo", which I always thought was a truly timeless tune, much more so than "Strings of Life", or even "R-Theme" (as great as it is).

― Tuomas, Monday, 7 May 2007 15:22 (eighteen years ago)

I put some techno on the ipod this morning and just got to It Is What It Is and wanted to re-state my love for this record, and mention that without any doubt, this is the track for me, for now and forever.

― dan selzer, Monday, 7 May 2007 16:44 (eighteen years ago)

you are not alone:

enfore - 02-May-02 12:14 PM
As Mr May said: I begun to understand that I had a new thing going on. You can say that It Is What It Is forced dancemusic into a unknown area back in -88.
Together with Beyond the dance (on the b-side) he constructed his typically organic sound.
The track is meltdown of all of the the complex feelings of humanity.
The last 30 seconds of the track is frustating of life!
If you only can take one dancerecord with you to the stars, It Is What It Is will be the best choice. Enfore.

― lfam, Monday, 7 May 2007 21:43 (eighteen years ago)

Anybody think he'll ever release another record?

― matt2, Tuesday, 8 May 2007 15:08 (eighteen years ago)

I feel like he's painted himself into a corner.

― dan selzer, Tuesday, 8 May 2007 15:14 (eighteen years ago)

why did he do all that stuff with System 7? i mean like 'why them' and not others? i love 'Big Sky City (High Rise mix)' - think that was him (sounds more Carl Craigy tho)

― blueski, Tuesday, 8 May 2007 15:19 (eighteen years ago)

You mean in waiting so long he can't possibly live up to expectations Dan?

― matt2, Tuesday, 8 May 2007 15:33 (eighteen years ago)

Yeah...there's such a mythology about him and the genius of his music. On top of that are the questions about his collaborations with Carl Craig, who was responsible for what. I mean, I don't think this stuff is so huge and I don't care, but these are the kinds of things detroit techno people used to talk about! And despite the influences, the kraftwerk, the new wave, the house and proto house and italo and whatnot, everything just really seemed so goddamn futuristic and cutting edge for a couple of years, but all that's changed. To come out with a new record now, what's it gonna be? At the very most we can hope for, some brilliant classic detroit techno, but how "innovative" is that? Again, that's not a standard I hold anyone to, but maybe that's what he holds himself to? There's nothing I want more than some classic style detroit techno! Or does he mix it up and do something different? Is it gonna be better then CC, UR, etc? I don't know, I feel like after all that "live jazz" stuff, CC has stripped back down and shown he can do some really classy simple stuff, and I'd like nothing more then a new 10 minute Derrick May track made with a 909 and a juno, 3, maybe 4 tracks tops.

― dan selzer, Tuesday, 8 May 2007 15:41 (eighteen years ago)

I've though a lot about the same things Dan. I remember reading an interview with CC somewhere where he said Derrick hasn't made a new record because he's waiting for something new and different (or something like that). Not sure if that means something new and different in his head that he'd like to create or some new technology or something (cause I suppose this part has happened in a way). But, yeah, would we want it to come out sounding like the newest and freshest or would we want it to be classic Derrick May? Would we want him to show a minimal influence or Theo Parrish influence or could/should we expect him to come with something wholly new and amazing (whatever that means)? You're also right in that by coming back from his jazzy stuff, CC seems to have been re-discovered or re-celebrated as a genius over the past three years or so, even if much of it has been as a result of remix work. He hasn't re-invented the wheel, but he's been highly celebrated for standing out as himself in the modern techno world. It's an interesting situation to be in and I'm sure DM ponders it all a good bit himself since, as others have said, he seems very aware of and concerned with the mythology surrounding him and his music.

― matt2, Tuesday, 8 May 2007 15:57 (eighteen years ago)

tough one. 'the beginning' as an ep, 'wiggin' or 'r-theme' as a track.

degsy recorded an album for r&s in the mid 90s that he made with a load of african percussionists but he a) never finished it or b) scapped it.

personally, i don't think he'll ever make a record again.

― stirmonster, Tuesday, 8 May 2007 16:04 (eighteen years ago)

Apparently CC has a studio album due this year sometime.

― Ronan, Tuesday, 8 May 2007 16:04 (eighteen years ago)

x post - should read 'scrapped'.

― stirmonster, Tuesday, 8 May 2007 16:09 (eighteen years ago)

he's been too busy inventing Scap Music to put out new records.

― dan selzer, Tuesday, 8 May 2007 16:18 (eighteen years ago)

Derrick actually came and performed with Stacey Pullen in a very small performance hall (probably holds maybe 200 people, no seating) at the local university (University of North Carolina in Chapel Hill) about 15 minutes away from where I live just two weeks ago. My wife and two-year-old son had both just been diagnosed with strep throat, so there was no way I could go (still very, very sad about that), but he was also doing an hour long lecture and question and answer session about techno and it's beginnings, etc. I was really, really looking forward to hearing that and asking him what he thought about the current state of techno and if he ever planned on releasing anything new, etc. Since he still seems to keep a very busy DJ schedule, I often wonder where he stands on new stuff and how much of it he plays. I saw him on NYE in Detroit and I remember him playing "Falling Up" and "Bar-a-thym" but I don't really remember a ton of other newer stuff. I'd be interested in his take on where things stand now.

― matt2, Tuesday, 8 May 2007 16:23 (eighteen years ago)

and I'd like nothing more then a new 10 minute Derrick May track made with a 909 and a juno, 3, maybe 4 tracks tops.

is your mind made up re Juno or can i interest you in a JD800?

― blueski, Tuesday, 8 May 2007 16:23 (eighteen years ago)

Not a chance. And any Juno. An alpha-juno would be fine.

Anyway, I've just defused so much of the mythology that I used to believe in. I mean, by this point, I don't think "Derrick May style Detroit Techno" is nearly as revolutionary as I used to. When I first discovered Transmat Relics, I didn't even like "house" music. By this point I'm not sure how or why Detroit Techno gets this cred when earlier and concurrently there were house producers in chicago who were just as stripped down, just as electronic and just as experimental. I think they did something slightly different with it, but with my current understanding of the history of electronic dance music (with is at least somewhat respectable), I don't see it. Maybe No UFO's in 1985, which is Juan inventing techno out of electro or something, historically that seems like a much stronger break.

― dan selzer, Tuesday, 8 May 2007 16:31 (eighteen years ago)

i dunno, 'It Is What It Is' and 'Beyond The Dance' seem very euphoric yet austere (maybe the wrong word...just kind of REGAL) at the same time and i don't think anything before had taken that sort of form. also quite trippy-sounding without being acidy that was surely a big deal. and they didn't seem to have the same sense of menace that Atkins stuff had but no less interesting or exciting for this.

― blueski, Tuesday, 8 May 2007 16:37 (eighteen years ago)

Absolutely Dan. Maybe it was Vahid, but somewhere someone said the difference between Juan, Derrick, and Kevin and, for example, the Chicago house producers was that they were concerned with and very keen with the marketing of their mythology. They sold themselves as being future music and something revolutionary and different. And they quite effective at it.

― matt2, Tuesday, 8 May 2007 16:39 (eighteen years ago)

'R Theme' was the first thing I knew by him just because I had it on a compilation from 1990. i acquired a 12" of 'Beyond The Dance' for free(!) somehow in the very late 90s - has the cool comic-character drawings on the labels.

― blueski, Tuesday, 8 May 2007 16:40 (eighteen years ago)

At the same time, I agree with blueski as well. Whether influenced by the mythology or not, there is just a feeling with some of the Detroit stuff that is hard to equal. Of course "Can U Feel It" and "Promised Land" and "It's Alright" give me the same feeling.

― matt2, Tuesday, 8 May 2007 16:41 (eighteen years ago)

i choked and went with "strings of life"

― strongohulkington, Tuesday, 8 May 2007 16:42 (eighteen years ago)

there is just a feeling with some of the Detroit stuff that is hard to equal.

it's more that it provided something that nothing else did - that mixture of drama and euphoria ('It's Alright' and 'Promised Land' kinda do this but more in actual pop song form).

― blueski, Tuesday, 8 May 2007 16:54 (eighteen years ago)

[url=[Removed Illegal Link] Sides: Techno vs. House[/img]

― Display Name, Wednesday, 9 May 2007 00:38 (eighteen years ago)

stupid ilx tags...

http://ilx.wh3rd.net/ILX/ThreadSelectedControllerServlet?action=showall&boardid=41&threadid=4132

― Display Name, Wednesday, 9 May 2007 00:39 (eighteen years ago)

http://www.redbullmusicacademy.com/TUTORS.9.0.html?act_session=281

deep motherfucker.

― Display Name, Wednesday, 9 May 2007 02:30 (eighteen years ago)

Hmmm... Dan, after reading your posts, I agree with you to a certain degree, but think that the phenomena you're talking about re: myth-making is true of almost all genres and sub-genres of music.

I just typed another paragraph about myth-making re: Barthes, but decided that I am too stoned to post that right now.

Anyway, DETROIT.

― the table is the table, Wednesday, 9 May 2007 03:48 (eighteen years ago)

I don't know...maybe it's what I was focusing on, but the point was the myth-making was like concurrent with the records, like 2 years later maybe. I don't remember anyone talking shit about classic house, acid or anything else. Techno changed the world. Derrick brought Nude Photo to England and Europe went straight detroit techno overnight, all that stuff.

― dan selzer, Wednesday, 9 May 2007 04:08 (eighteen years ago)

r-theme!!!

― tricky, Wednesday, 9 May 2007 04:09 (eighteen years ago)

"nude photo", "wiggin", "drama", "it is what it is" and "strings" are all totally brilliant, too.

― tricky, Wednesday, 9 May 2007 04:17 (eighteen years ago)

^^ i'm pretty sure i didn't say what matt said upthread

― moonship journey to baja, Wednesday, 9 May 2007 04:22 (eighteen years ago)

I said it in the techno/house thread.

― Display Name, Wednesday, 9 May 2007 04:40 (eighteen years ago)

Skipping 15 messages at this point... Click here if you want to load them all.

I think the problem with your argument is that you are pitting Larry Heard against Derrick May.

Derrick May was a hell of a lot more innovative than say, Chip E.

― Display Name, Thursday, 10 May 2007 04:22 (eighteen years ago)

A better way to say that it that DM was more innovative than a hack industrial producer or hi-nrg producer from that same time.

Even if it is branded as innovation, his story still defines a kind of thinking about music that didn't quite exist before the B3. Even if their sonic contributions aren't 100% brand new or exclusive, the way they framed their ideas about music were.

― Display Name, Thursday, 10 May 2007 04:27 (eighteen years ago)

x-post to dan: I also think that one of the reasons for the myth-making re: Detroit in general is about race, which is hardly a bad thing (hell I think it's great), just a reality.

― the table is the table, Thursday, 10 May 2007 04:28 (eighteen years ago)

no, I agree...my point is that the "innovation" is as much about the context then any pure sense of inventing electronic dance music or something. Trust me though when I say the latter was something that was discussed!

As far as the Larry Heard thing...he's an easy example, but there's more. Warp Influences is a good selection of stuff, and it's mostly Chicago.

― dan selzer, Thursday, 10 May 2007 04:32 (eighteen years ago)

Yeah, it certainly is about the context...

But I also think that whether something is 'innovative' or 'influential' has little bearing on its objective quality as a piece of music/production. The music must come first, and then people can claim it's whatever they want it to be.

― the table is the table, Thursday, 10 May 2007 04:41 (eighteen years ago)

of course, maybe it's just a concern of mine because I DO inject quite a bit of my own idealization of something's so-called "innovation" and influence into my judgement of music. When I listen to things I can't help but imagine the story, think about the minds that were blown.

― dan selzer, Thursday, 10 May 2007 04:51 (eighteen years ago)

you see, what i mean by "innovative" is "takes my mind to a place that nothing else can take it." some things do it for me, some things don't.

i was going to add some qualifiers to that post on the other thread about whether his stuff just came out of nowhere or not, but i erred on the side of brevity.

― lfam, Thursday, 10 May 2007 04:56 (eighteen years ago)

i watched this live kraftwerk video from 1991 last night. it sounder better than any detroit techno and beat it at its own game!

― lfam, Thursday, 10 May 2007 04:59 (eighteen years ago)

i like derrick may because his personality oozes through the records. and it's not just his personality, it's that the music itself sounds human. all the innovator stuff is secondary IMO.

― tricky, Thursday, 10 May 2007 04:59 (eighteen years ago)

it's the same thing with arthur russell.

― tricky, Thursday, 10 May 2007 05:00 (eighteen years ago)

http://www.youtube.com/watch?v=6f-xAwcJODA

ps if you can point me to an audio recording of this show you will be well-liked by the board

― lfam, Thursday, 10 May 2007 05:01 (eighteen years ago)

i watched this live kraftwerk video from 1991 last night. it sounder better than any detroit techno and beat it at its own game!

this is just wrong on so many levels.

― Display Name, Thursday, 10 May 2007 05:02 (eighteen years ago)

i was a little out of sorts when i listened yesterday and i don't want to do it again

― lfam, Thursday, 10 May 2007 05:04 (eighteen years ago)

but i stand by that

― lfam, Thursday, 10 May 2007 05:05 (eighteen years ago)

i wish more people had voted in this.

― lfam, Thursday, 10 May 2007 05:05 (eighteen years ago)

yeah, that is just wrong...

wrong to the point that I have to say it is wrong again.

two points:

1. funk

2. polyrhythm

― Display Name, Thursday, 10 May 2007 05:06 (eighteen years ago)

Seriously, there is no compound rhythm in that show. Kraftwerk have dope hooks and I love them, but they are not nearly as rhythmically sophisticated as anything that Juan was doing in the early 90's or anything Derrick did in his heyday.

Go listen to Deep Space, or Jazz Is The Teacher and tell me that Kraftwerk can come anywhere near what Juan was doing back then. Juan was taking the timbrel aspect of Computer World, expanding that sonic pallet, and adding jazz drumming and chord voicing.

― Display Name, Thursday, 10 May 2007 05:12 (eighteen years ago)

You might be listening to Detroit music, but you aren't hearing it.

― Display Name, Thursday, 10 May 2007 05:13 (eighteen years ago)

The Mix was my second Kraftwerk purchase so i fell in love with that version of Computer Love a few years before I actually heard the Computer World LP version. I've always felt a bit weird about the original version because of that.

― dan selzer, Thursday, 10 May 2007 05:15 (eighteen years ago)

and all that jazz drumming and chord voicing can be great...and it can also be detrimental. It never made enough a difference to me to see those elements and the crowning achievement beyond what had come before.

― dan selzer, Thursday, 10 May 2007 05:17 (eighteen years ago)

apples beat oranges at their own game because I don't understand what makes oranges special.

― Display Name, Thursday, 10 May 2007 05:19 (eighteen years ago)

apples and oranges are both great. they taste different. do I need somebody to teach me about oranges?

― dan selzer, Thursday, 10 May 2007 05:24 (eighteen years ago)

I guess I don't understand the whole idea of crowning achievement. Music didn't start in Detroit and it doesn't end there either.

Those guys touched on something very special and put a very particular feeling onto those tapes. You can appreciate it on a technical level(the actual thought that went into constructing the music) and on an emotional level. At this point I don't think Detroit invented dance music, and I don't think that anyone is positing that here. The innovation is that Detroit took elements that were available to everyone at the time and formed them into something peculiar that is externally recognizable as their own.

There are no crowning achievements. Culture doesn't progress in a linear fashion. It never changes, the archtypes never change. Everything is window dressing.

― Display Name, Thursday, 10 May 2007 05:28 (eighteen years ago)

that last sentence there might just be the best thing i've ever read on ILM.

― tricky, Thursday, 10 May 2007 05:47 (eighteen years ago)

I think you are missing the point of my argument. Kraftwerk cannot beat Juan at Detroit techno because Kraftwerk's music doesn't include the elements that make Detroit techno what it is. It includes some of them, but not the important ones.

The important difference is the jazz and Latin/African elements that might not be immediately discernible to people who don't necessarily listen/hear those things when they listen to music. If you aren't listening for/hearing those things, you are missing out on a huge part of the music.

perhaps lfam doesn't hear that stuff when he listens to music. When I hear Kraftwerk I hear great chord progressions and melodies, but I find that everything underneath them is only there to accent them. Detroit techno is the opposite, I hear great rhythms and grooves, and anything melodic or harmonic is only there to accent and enhance the rhythm.

If you don't understand the difference between apples and oranges and you go around making statements about their various natures around people who do, you might need to be taught. I assume you know this, Dan, you are a pretty smart guy. I agree with you most of the time.

― Display Name, Thursday, 10 May 2007 05:48 (eighteen years ago)

I don't disagree with that and I'm not knocking Detroit Techno, which I've loved for a long time now. The whole discussion about innovation and achievements arose from the question of what may be going on in Derrick's mind and why he doesn't release records any more. I think the elements that made Detroit, and Derrick's records, special are unique and special, but only if you buy into the mythology that they are so thoroughly unique does the idea that Derrick can't make records any more because of it make sense. I'm not saying that's the case, who knows, but for a long time it sure seemed like it.

And I'm not the one who said Kraftwerk was better. They are different things. I just didn't get the "at their own game" part of your apple/orange analogy and disagreed with the idea "if you prefer kraftwerk to detroit you must not understand detroit". Re-reading it I realize you're saying "if you think kraftwerk makes detroit techno better then detroit techno, than you must not understand detroit techno, because kraftwerk technically doesn't make detroit techno". Which makes more sense and sounds less didactic.

But my other point was that on a wider playing field, where you're talking about electronic dance music, for instance, some people aren't parsing it that closely, and certainly when I was first discussing these myths, it was simply the idea "electronic dance music" and not finer details of jazz chordings and african rhythms. It was all TECHNO at the time.

― dan selzer, Thursday, 10 May 2007 05:56 (eighteen years ago)

Where does local DJ culture fit into all of this. It seems like this discussion is only about the records and it doesn't include anything about how these records were played.

― Display Name, Thursday, 10 May 2007 06:11 (eighteen years ago)

Do Detroit DJ's play their records differently from the way Chicago DJ's play their records?

― Display Name, Thursday, 10 May 2007 06:12 (eighteen years ago)

i brought up that version of computer love because even though it replaces "latin/african elements" (wow, two continents!) with stiff, er, kraftwerk beats, the song is rewritten and the drum synthesis updated to be able to sit comfortably next to a derrick may song (say, drama) in a club setting. it evokes the same trance (brain state, not genre) feelings and mesmeriziing repetition and even makes me body move in the same way.

but if you ever publish "how to listen to detroit techno for dummies" i'll be sure to read the scanned excerpts on amazon when i'm not busy being titillated and elevated by this music.

― lfam, Thursday, 10 May 2007 06:22 (eighteen years ago)

i will concede that kraftwerk is less rhythmically complex than derrick may but brevity is the soul of wit

― lfam, Thursday, 10 May 2007 06:27 (eighteen years ago)

I don't disagree with that and I'm not knocking Detroit Techno, which I've loved for a long time now. The whole discussion about innovation and achievements arose from the question of what may be going on in Derrick's mind and why he doesn't release records any more. I think the elements that made Detroit, and Derrick's records, special are unique and special, but only if you buy into the mythology that they are so thoroughly unique does the idea that Derrick can't make records any more because of it make sense. I'm not saying that's the case, who knows, but for a long time it sure seemed like it.

I think Derrick said what he had to say, and then he was wise enough to keep his mouth shut after he ran out of fresh ideas. Derrick May the person and Derrick May the public figure are two different people. He is very savvy about presenting himself in a certain way. He knows how the press and the business work and he does what he has to do in order to portray himself in a positive light.

The marketing is external to the music itself. DM left behind a very brilliant body of recorded music and he is still a stunning DJ to this day. His records don't sound like Larry Heard's, and his DJ sets don't sound like Larry Heard. If he had to sell a line of bullshit in order to get Detroit music out there, then so be it. I don't think the world of dance music would be much improved if Detroit had just put out a few regional hits and dropped off the face of the earth. Perhaps it is a myth, but it is a myth that a lot of Detroit artists bought into and used to help them make some amazing music. He must have done something right, because we are still arguing over his records 20 years later.

― Display Name, Thursday, 10 May 2007 06:45 (eighteen years ago)

wait, i just want to figure something out b/c i am a dummy: moonship is vahid, right? who is display name? am i just confused?

also, just to let you know, mr. name, the lfam has quite a good ear, and you're being a bit of a prig.

― the table is the table, Thursday, 10 May 2007 14:51 (eighteen years ago)

tho i think that this statement is fucking aces, and applaud its brevity and wisdom:

The innovation is that Detroit took elements that were available to everyone at the time and formed them into something peculiar that is externally recognizable as their own.

EXACTLY.

― the table is the table, Thursday, 10 May 2007 14:53 (eighteen years ago)

i thought Ronan, Spencer and I voted for BTD. but it only got two votes?

― blueski, Thursday, 10 May 2007 15:05 (eighteen years ago)

what are Larry Heard's fastest tracks tempo-wise?

― blueski, Thursday, 10 May 2007 15:07 (eighteen years ago)

i always enjoy Display Name's posts. he could never be as much of a prig as Derrick May at least!

― blueski, Thursday, 10 May 2007 15:26 (eighteen years ago)

what are Larry Heard's fastest tracks tempo-wise?

probably those gabba records he made under a pseudonym to pay the rent.

― stirmonster, Thursday, 10 May 2007 15:30 (eighteen years ago)

I tend to find Display Name posts good, too. I just think it is...not priggish, but a bit off, to presume to know someone's listening habits (especially scope & knowledge) based on one statement.

― the table is the table, Thursday, 10 May 2007 15:35 (eighteen years ago)

mike is kind of kicking everyone's ass on this thread, however.

― strongohulkington, Thursday, 10 May 2007 15:49 (eighteen years ago)

and i don't just say that because he's the guy (well, him and vahid and matt ingram) who really made me rethink and get into detroit in the first place.

― strongohulkington, Thursday, 10 May 2007 15:50 (eighteen years ago)

(and kellman too, of course.)

― strongohulkington, Thursday, 10 May 2007 15:50 (eighteen years ago)

probably those gabba records he made under a pseudonym to pay the rent.

also, twitch, plz tell me this isn't a joke.

― strongohulkington, Thursday, 10 May 2007 15:51 (eighteen years ago)

I enjoy Display Name's passion and ability to clearly state his reasons for it.

― matt2, Thursday, 10 May 2007 15:54 (eighteen years ago)

Mr Kneecaps 'Boshing Machine'

― blueski, Thursday, 10 May 2007 16:12 (eighteen years ago)

thanks for keeping score, jess!

― dan selzer, Thursday, 10 May 2007 19:26 (eighteen years ago)

it seemed apt as ilm has gone rankings crazy

― strongohulkington, Thursday, 10 May 2007 19:27 (eighteen years ago)

RATE THE ILX DETROIT TECHNO SUPERHUNKS (poll ends 2007-05-14)

― strongohulkington, Thursday, 10 May 2007 19:27 (eighteen years ago)

re: BTD

i have a feeling this poll software is, how do you say??? GARBAGE! but i liked the suggestion that polls should just present random results and although that would be easy to code this broken shit is more appropriate for ilx.

― lfam, Thursday, 10 May 2007 22:52 (eighteen years ago)

and it spurred a good discussion! i mean, who cares which won? it certainly won't change my opinion of the records.

― lfam, Thursday, 10 May 2007 22:52 (eighteen years ago)

two weeks pass...

http://www.youtube.com/watch?v=QTgaQwQgs-o

― Display Name, Sunday, 27 May 2007 08:18 (eighteen years ago)

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