>also could it be that many producers release "infinished tracks" so that >the idea can be completed by the dj? justa thought.
I thought exactly the same thing Robin, although I was a bit wary abt going up against the wisdom of May and Atkins - that's not meant ironically at all. I respect them and their opinions 100%, although I might disagree. That point is a difficult one. A bit of a dilemma: On the one hand part of the attraction of the music we're into *is* it's very 'imperfection' on any number of fronts, on sound quality; structurally; production. Imperfections whether intentional or unintentional can add almost a magical quality to a piece of music *heard in the right context*. The same could especially be said (imho) about Derrick May's own work - I mean basically, during the era in which he did his only non-collaborative work (no offence intended in that, it's just a fact that it was a while ago) electronic music sounded what could be called 'unfinished' or put more politely, 'minimal'. And then there is Robin's point about the sketchiness of some productions being quite necessary if the music is going to be programmed with other tracks ... However, I can definitely see the point about some things being quite patently thrown together (or seeming to be) and that point where minimal becomes just downright lazy, unimaginative, or dare I say it - a display of a *lack* of talent rather than display of talent. It would be helpful though to know what tracks May had in mind when he made that statement (but of course we never will), 'cause in the last 6 months I've heard a great deal of quality music coming from Detroit and coming from everywhere. I've heard some mediocre house, techno, broken beat, etc etc too, but not as much good stuff - which you do have to seek out if you want to overwhelm what would seem like a stream (but not a deluge) of cack - that being a crucial point! Nothing different in that today compared to ten years ago. (mho.) k
