The problem is obvious. How many people who revere the early Model 500 tracks in retrospect would have even given them a moment's notice in 1987? No, they were self-released by a young guy from a no-name Detroit suburb, a bunch of things ranting on and on about UFOs and stuff over clattery noise box sounds. I mean, let's be real, you can just imagine the disdain *even if they heard those tracks then to begin with.* Which they didn't outside of urban Detroit and Chicago. We certainly didn't hear any of this on the west coast unless it was a pure fluke until years later.
Fast forward to 1992, 1997, 2002. How many people actually *listen* to what Juan Atkins (or name your producer) has put out, before making their judgment? See? That hasn't changed at all. The only thing that's changed is that now there are cover photos and hype stories in the slick magazines to do our thinking for us. (More than average appreciation at this moment to the people who *do* write honestly, like BMG, Tamara Palmer, Tom Magic Feet, John O and the gang over at XLR8R.) It's not like I am wildly enthusiastic about everything he's done. I left off a few I don't care for in my list. But I'll stack Juan's discography, all of it, against anyone else in electronic music -- even Paul Oakenfold -- and he'll come out very well indeed. But I've made my point on this matter and will shut up now. --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
