From Aran M. Parillo Sent Sat, Oct 18th 1997, 00:01
From Aran M. Parillo Sent Sat, Oct 18th 1997, 00:01
t1000 touching down... amp ---------- Forwarded message ---------- Date: Fri, 17 Oct 1997 19:53:03 -0400 (EDT) From: xxxxxxx@xxx.xxx To: xxx@xxxxxxxxx.xxx Cc: xxxxxx-xxxxxx@xxxxxxxxx.xxx Subject: (313) Derrick May: Innovator Got the Derrick May "Innovator" 2xCD yesterday, and spent a cloudy Friday afternoon listening to it. My mood, already melancholy, was deeper still afterwards. This is the domestic version on Transmat (yes I bought it, Kent, you bastard). It consists of all of Derrick's early tracks, plus alternate mixes and versions, most of which have been known to heads like me for years and years (and you too, if you lived in Detroit and taped off of Fast Forward back in the day). Having been around since the early days, it's a weird notion that I've grown up with this stuff, given our medium's penchant for annihilating recent history. Although I dug the overall package (including his "new" track, the heavily-filtered "To Be Or Not To Be", reportedly from the Sony "Ghost In The Shell" compilation"), I was disappointed that two seminal Mayday tracks, "Phantom" (originally released on the Transmat/Buzz compilation "Relics" as "A Relic") and "Icon" (originally released on the Japan-only 2xCD compilation "Cosmic Soul" on Meldac) were severely edited. I also thought that the packaging was rather plain for such a groundbreaking work. Overall, though, as Mayday's tracks do, the "Innovator" album brings back a lot of memories. And tracks like the string-laden, pitch-bent and plaintive "Kaotic Harmony" and the ultra-rare "R-Theme" (co-written by Darrell Wynn and originally released under the group name R-Tyme) make me sad. An emotion that techno isn't supposed to engender if you listen to those who say that techno isn't "real" music. But don't despair. Just because I'm sentimental doesn't mean you have to be. "The Beginning" is here (originally released as Derrick's final record for Kool Kat UK, 1990) and it still slams years later, as does "Salsa Life" (the b-side of that same record) and "Drama" (co-written with Carl Craig and the b-side of "Strings of Life '89", Kool Kat, 1989). The classic "It Is What It Is" is also a highlight (originally from the seminal "Techno: The New Dance Sound of Detroit" compilation, Virgin UK, 1988; later re-edited and released in the US on Transmat, 1989) as is an edited-and-fucked-with (I wish he'd left that track alone) "Nude Photo", the record that started it all. From back when tracks had *basslines*. Tracks conspicuous by their absence: "Sinister", "Wiggin" (original version; both originally released on the b-side of "Nude Photo '88" , Kool Kat UK), and "Emanon" (from the Biorhythms compilation, Kool Kat/Network UK, 1990). All of the passion, energy and back-edits of the early days is right here, though. Although possibly under-produced and even quaint to jaded 90's ears (though crystalline on CD), those tracks represent the beginnings of this movement, at a time when all 313 meant to people outside the city was "Murder City", "black" and "ghetto" (part of the reason why I'm leary of those from outside Detroit purporting to be the "new generation" of Detroit techno; I ain't feelin' it, sorry). Along with Model 500 "Classics" on R&S (time for that domestic pressing, Juan) and the upcoming Kevin Saunderson "Faces and Phases" retrospective on Planet E, the foundations of the retro-futurist Detroit sound are finally documented and available for younger heads. And with all this fake shit like Crystal Method and Arkarna being passed off as techno (oh, I'm sorry, "electronica"), not a minute too soon. Alan Oldham Pure Sonik/Tresor Detroit PS: I will be spinning at Industry in Pontiac this Sunday night for those who are interested. Bailey's on the rocks is my drink ;-)