Neil Rushton
From The Art and Popular Culture Encyclopedia
| Revision as of 18:26, 18 April 2007 84.198.171.89 (Talk) (→Techno) ← Previous diff |
Revision as of 18:26, 18 April 2007 84.198.171.89 (Talk) (→the electronic music coming out of Chicago) Next diff → |
||
| Line 5: | Line 5: | ||
| The music's producers were using the word "techno" in a general sense as early as [[1984]] (as in [[Cybotron]]'s seminal classic "[[Techno City]]"), and sporadic references to an ill-defined "[[techno-pop]]" could be found in the music press in the mid-1980s. However, it was not until [[Neil Rushton]] assembled the compilation ''Techno! The New Dance Sound Of Detroit'' for [[Virgin Records]] (UK) in [[1988 in music|1988]] that the word came to formally describe a genre of music. | The music's producers were using the word "techno" in a general sense as early as [[1984]] (as in [[Cybotron]]'s seminal classic "[[Techno City]]"), and sporadic references to an ill-defined "[[techno-pop]]" could be found in the music press in the mid-1980s. However, it was not until [[Neil Rushton]] assembled the compilation ''Techno! The New Dance Sound Of Detroit'' for [[Virgin Records]] (UK) in [[1988 in music|1988]] that the word came to formally describe a genre of music. | ||
| - | == the electronic music coming out of Chicago == | + | == The electronic music coming out of Chicago == |
| Like many others, Neil Rushton was galvanized by the electronic music coming out of Chicago mid-decade, which was successfully codified in the English market under the trade name "house." A similar thing happened in Chicago as in Detroit: away from the musical mainstream on both coasts, DJs like Frankie Knuckles and Marshall Jefferson had revived a forgotten musical form, disco, and adapted it to the environment of gay clubs like the Warehouse. The result was a spacey, electronic sound, released on local labels like Trax and DJ International: funkier and more soulful than techno, but futuristic. As soon as it was marketed in the U.K. as house in early 1987, it because a national obsession with No. 1 hits like "Love Can't Turn Around" and "Jack Your Body." | Like many others, Neil Rushton was galvanized by the electronic music coming out of Chicago mid-decade, which was successfully codified in the English market under the trade name "house." A similar thing happened in Chicago as in Detroit: away from the musical mainstream on both coasts, DJs like Frankie Knuckles and Marshall Jefferson had revived a forgotten musical form, disco, and adapted it to the environment of gay clubs like the Warehouse. The result was a spacey, electronic sound, released on local labels like Trax and DJ International: funkier and more soulful than techno, but futuristic. As soon as it was marketed in the U.K. as house in early 1987, it because a national obsession with No. 1 hits like "Love Can't Turn Around" and "Jack Your Body." | ||
Revision as of 18:26, 18 April 2007
|
Related e |
|
Featured: |
Techno
The music's producers were using the word "techno" in a general sense as early as 1984 (as in Cybotron's seminal classic "Techno City"), and sporadic references to an ill-defined "techno-pop" could be found in the music press in the mid-1980s. However, it was not until Neil Rushton assembled the compilation Techno! The New Dance Sound Of Detroit for Virgin Records (UK) in 1988 that the word came to formally describe a genre of music.
The electronic music coming out of Chicago
Like many others, Neil Rushton was galvanized by the electronic music coming out of Chicago mid-decade, which was successfully codified in the English market under the trade name "house." A similar thing happened in Chicago as in Detroit: away from the musical mainstream on both coasts, DJs like Frankie Knuckles and Marshall Jefferson had revived a forgotten musical form, disco, and adapted it to the environment of gay clubs like the Warehouse. The result was a spacey, electronic sound, released on local labels like Trax and DJ International: funkier and more soulful than techno, but futuristic. As soon as it was marketed in the U.K. as house in early 1987, it because a national obsession with No. 1 hits like "Love Can't Turn Around" and "Jack Your Body." --Jon Savage, The Village Voice Summer 1993 "Rock & Roll Quarterly" insert.
Altern-8
Two more names deserve a mention in the story of the development of Altern-8: Neil Rushton, the manager and captain of the Network Records, from Stafford; and John McCready, the man responsible for the propagation of their many myths.
