Detroit Techno Militia is proud to present a brief history of Anthony "Shake" Shakir. If you aren't familiar with one of our favorite producers/dj's, now is the chance expand your knowledge base.

Anthony "Shake" Shakir
Frictional Recordings - Detroit

One of Detroit Techno's great unsung heroes, Anthony "Shake" Shakir has been a talent integral to the genre since it's formative years. Like many producers, Shake started out as a DJ while at Cooley High School (also the alma mater of Carl Craig), though he spun Electro, R & B and funk rather than House. He was introduced to Derrick May and Juan Atkins (and subsequently the nascent Techno subculture in Detroit) through DJs Mike Huckaby and Eric Sims. Shake had been experimenting with keyboards around the same time, and gave some of his tracks to May on tape. By his own admission, those early songs were "pretty terrible", but one track that mimicked Fingers Inc.'s "Mystery of Love" caught May's attention and he recognised Shake's potential.

Before long, he found himself contributing to the seminal 1988 compilation Techno! - The New Dance Sound of Detroit on 10/Virgin. Shake recalls recording his contribution, "Sequence 10", while compiler Neil Rushton was in Detroit finalising the album's running order. But while other artists rode the waves of attention that the compilation attracted, Shake remained behind the scenes for several years after, preferring the roles of producer, A & R and remixer instead. Many have benefited from Shake's talents and connection to May, Atkins and Saunderson - most notably Octave One, whose suprise anthem "I Believe" he co-produced, co-wrote and mixed.

Shake re-emerged as a solo Techno artist on Metroplex with 1992's 5% Solution EP and continued to find outlets such as KMS, Trancefusion and Peacefrog. In the following years he founded two labels: Frictional Recordings with Claude Young in 1995 and Puzzlebox with Keith Tucker in 1996. While Puzzlebox is now Tucker's responsibility, Shake continues to run Frictional on his own and the label has provided a home for brilliant an diverse series of releases, including "Mood Music for the Moody", "Club Scam II" and the "The Revisionist's Theory".

In addition to his Techno productions, Shake has also been involved with local hip-hop artists like Scarelly Moe. He has also remixed many artists, including Inner City and the Belgian Techno-pop band Telex, but one of his finest moments remains his co-production of Urban Tribe's exceptional album for Mo' Wax, The Collapse of Modern Culture (1988).

-Tim Barr, Techno: The Rough Guide

UR added a new gallery to their site.  They will be adding event photos as they become available.  The first galley featured is from the Paris show (Nov '05).  Many thanks to http://www.technotourist.org for providing the images!  Click Here to check out the archives.

Bj was bitten by the music bug at a very early age. As a young boy he would listen to the radio for hours at a time, imagining that one day his music would be the sound coming out of those speakers. As fate might have it, his creativity and talent would guide him down a path to help create and influence an entire genre of music. So, who is POSATRONIX?

Bj was born and raised on the east side of Detroit. The shear struggle and rawness of Detroit city had certainly influenced his perspective on life. But even having gone through learning the hard lessons of life, he never gave up, and music became his mental escape, his absolute outlet for imagination and creativity. While attending high school Bj. met Tommy Hamilton. They discovered that they had a lot in common. Both were in the dance scene and soon after became partners in the legendary Devo Dancers and Cosmic Dancers, going on to dominate the Detroit dance scene. They would create there dance routines to the music of groups like, Kraftwerk, Model 500 and Soul Sonic Force (Africa-Bam Bata). That’s when it really started to hit him and he knew right then that this music was something he had to do. He later teamed up with Tommy Hamilton, Keith Tucker and Tony Horton to form an R&b Band called "Regime". Long after that, he joined the Military and served four tough years as an Airborne Ranger. Upon his return in 1989 he teamed up with Keith Tucker and Jesse (Beck) Anderson to form the group "Frequency". They toured the local scene, unleashing a fury of raw unreleased original Detroit Techno. After years of playing, he became well known and respected for being a very talented drum programmer and awesome keyboard player. He could play just about any instrument he put in his hands, and his talent began to shine. But it was his keen ear, his ability to meticulously dissect notes and frequencies that would set him apart from the rest.

Bj's fascination with sound and frequencies had totally consumed him. He submerged himself into the art and studies of sound theory and engineering. He was what the people in the music industry called a "Studio Rat". In other words, he practically lived in the studio. Eventually becoming one of the most well known sought out producer/ engineers in Detroit. During this time, his good friends Tommy and Keith would sign with Direct Beat Records and go on to create the Legendary group "AUX 88". After receiving a call from Tommy, Bj joined the AUX team as a partner. His engineering skills was the perfect fit and would soon be put to the test. While in the studio, he worked on track, after track, after track and "POSATRONIX" was born. Tucker and Hamilton offered him an opportunity to work on the "Alien FM" album, and then he created the Detroit Electro Classic "My AUX MIND". Soon after Keith left to pursue his solo career and Bj. filled his position. Upon joining AUX 88, Tommy and Bj would go on to record the "Man or Machine" and aggressively toured Europe and the States. Together Bj and Tommy pushed the Direct Beat catalog to new heights and recorded remixes for several artist including " Control" for Undergroud Resistance and " Cripy Bacon" for Laurent Garnier. Later, Mike Banks gave Bj the task of Mixing and engineering "Millennium to Millennium" by Timeline which went on to be another Detroit classic by UR.

Now it was time for him to focus and channel his energy into POSATRONIX, and Direct Beat was certainly behind him. Bj reached into his bag of tricks and pulled out a record call "Shake it". Little did he know, this would go on to be a Detroit Classic as well. He would later record some of the " POSATRONIX" catalog on Direct Beat with such records as: DANZ, NIGHT VISION, 142 mph and a host of other POSATRONIX material. He would then later release "CONDOR" (The Auxmen) and "The Hubble: Posatronix Mix" on "Puzzlebox Records". Bj also gave a sample of what’s to come on the release of "POSATRONIX 2010". Credited as one of the pioneers of the Detroit Electro Techno Bass movement, William (Bj) Smith continues to amaze us with a unique sound of his own. 

So, what is POSATRONIX?, who is POSATRONIX? . The answer is in his music. The mission of POSATRONIX is to transmit Detroit Techno Music in its purist form. To create an epic, a body of music that attaches itself to the soul. To create something that will last forever. Not because it sounds good, but because it feels good. There is no doubt that this soldier has paid his dues. When asked, he said "Earning your stripes is good, but keeping them is what counts, and when people acknowledge your work, that's when you know you've made a difference". POSATRONIX is now releasing his musical vision on the well anticipated label "Cratesavers" together formed with "Trackmasta Lou" .POSATRONIX is sure to stamp his signature sound on generations to come.

This interview is from our friends over at TechnoTourist.org!

Time, Space, Axis

Jeff Mills has always been a techno innovator. Exploring the balance between music, art and philosophy, every project is another milestone. In july 2001 John Osselaer asked Jeff some questions. Following is the result...

For a long time it's been rumored that Detroit is built on an ancient Indian burial ground and that the city is haunted by Yam-Ko-Desh. It is believed that the Ottawas, Ojibwas, and Potawatamis formed an alliance to exterminate them.

Many mounds along the Detroit and Rouge rivers had been leveled in the previous century to make way for development.

One, the "Great Mound on the Rouge" in Delray at the junction of the Rouge and Detroit rivers, captured the fancy of early historians. It was 400 feet long, 200 feet wide and 40 feet high. It was so packed with bones that they were easily exposed by wandering cattle.

I will post the rest of the article below. Here is the original article from the Detroit News Click Here

Charles "The Electrifying Mojo" Johnson was a Detroit, USA radio disc jockey from the 1970s through the 1990s, whose on-air journey of musical and social development shaped a generation of Detroit music-lovers, and was of paramount importance to the development of Detroit Techno. The trio of artists widely cited as the founders of Detroit Techno, Juan Atkins, Kevin Saunderson, and Derrick May have all made mention of Mojo's influence on their musical development. Second generation Techno artists like Richie Hawtin (Plastikman) and Carl Craig have also praised the diversity of Mojo's playlist.

Mojo's seminal radio show ran from 1977 through the mid-1980s, and while broadcast on stations marketed at the African-American market, his programming was an inspired blend of the best soul, funk, new wave, and rock that defied standard radio industry formats and genres.

He is recognized for having "broken" many artists into the Detroit radio market, including Prince, the B-52's, and Kraftwerk, and was occasionally thanked on-air by the artists for his support of their work. Because his habit was to play entire recordings without interruption, regular listeners became deeply familiar with each recording.

The amount of influence that Mojo had on his listeners cannot be overstated. Detroiters from this era still speak of the diversity of Mojo's shows, and it is a common opinion that if someone is from the Detroit area, it's Mojo's fault if they are a Prince fan. Mojo would often play hours of Prince's music, not only his hits, but deep album cuts, b-sides, and sometimes bootleg tracks as well. Prince returned the favor by granting Mojo a lengthy live interview following a sold out birthday concert at Cobo Arena in June, 1985. A rarity during a time when Prince rarely if ever granted interviews. When Prince was about to release a new album, Mojo would often play the album in its entirety, and this practice continued into the '90s.

Mojo moved from the smaller WGPR to WJLB in its prime years, then on to WHYT as its star passed.

There will come a time in your life when you will ask yourself a series of questions.
Am I happy with who I am?
Am I happy with the people around me?
Am I happy with what I'm doing?
Am I happy with the way my life is going?
Do I have a life or am I just living?
Do not let these questions strain or trouble you just point youself in the direction of your dreams find your strengh in the sound and make your transition.

Do not spend to much time thinking and not enough doing.
Did I try the hardest at any of my dreams?
Did I purposly let others discourage me when I knew I could?
Will I die never knowing what I could have been or could of done?
Do not let these doubts restrain of trouble you just point yourself in the direction of your dreams.
Find your strength in the sound and make your transition.

There will be people who say you can't - you will.
There will be people who say you dont mix this with that and you will say "watch me".
There will be people who will say play it safe, thats to risky - you will take that chance and have no fear.
You wont let these questions restrain or trouble you.
You will point yourself in the direction of your dreams.
You will find the sreangth in the sound and make your transition.

For those who know its time to leave the house and go back to the field.
Find your strength in the sound and make your transition.

--The Unknown Writer
(Underground Resistance - Transition)

Ron Murphy and NSC Record Mastering! The home of Sound Enterprises. Sound Enterprises is the Brain child of Legendary Record Cutter, Mastering Engineer and Record Producer Ron Murphy. Ron cuts Records for some the worlds tops groups and artist such as Jeff Mills, UR, Tony Brown, UNV, DJ Funk, DJ Godfather, Woody McBride(esp), DNH and more..

http://www.soundenterprises.com/

Check out thier website and support the company that has been a huge supporter of Detroit Techno from the beginning! They ship world wide.

The secret Detroit techno organisation speak to DJmag in a world exclusive interview

Words: Kris Needs - original article: http://www.djmag.com/newsfeat176.php

When Underground Resistance finally responded to DJmag's request for an interview, they did so with knobs on, so to speak. The current issue of DJmag (no99/vol3) contains an in-depth feature on this seminal techno crew, but to truly do them justice would have taken up the whole issue. Various members emailed us their responses from all over the world, so here are some more of their words, to satisfy the UR faithful out there…

UR Comments

I found this gem while surfing the Subject Detroit website of I figured I'd archive it here to make sure future generations find it.

NO MORE HEROES.   A discussion with DJ Bone.

Uncompromising.   Real.   What you see is what you get.   Hype hater.   Deck magician.   More accomplished than most ten DJs put together.   Vastly underappreciated musician.   World's greatest BBQ.   These are all things that come to mind when I consider Detroit's DJ Bone.

To some he's a household name, others see him for the first time and ask the person dancing like crazy next to them, "where DID this guy come from?".   Truly a DJ's DJ, the list of superstars who regularly travel just to see him play is long and consistent.

A real Detroit native, Bone has been one the short list of infamous "Detroit DJs" for a long time.   But when I said uncompromising, that aint no joke.   Bone does things on his terms and on his terms only - some people in the city know this all too well.   You'll never be confused where you stand with DJ Bone.   He doesn't suffer fools nor stars.   But with that focus comes a single-minded mission, one that, when you're exposed to it, is crystal clear.   Get your hands on the 7-inch "Music (Speech)" we talk about in this interview: It's all about the music.   These days it's often hard to believe that from Artists, DJs, Producers.  

Not so with DJ Bone.   It's all about the music.   It's that simple.

Location: Michigan Historical Museum

Juan Atkins
Juan Atkins, a Detroit disc jockey (born 1962) who started spinning in 1979, coined the term "techno" to define the high-tech funk of Cybotron, his joint project with Rick Davis. Juan Atkins had begun playing keyboards and synthesizers as a teenager inspired by George Clinton. From the beginning, Atkins had realized the potential of the emerging electronic instruments.

Derrick May and Kevin Saunderson were high school buddies that had an influence on him in choosing to start recording the music that was flying in his mind. Their friendship would soon be cemented through the collective Deep Space Soundworks, founded in 1981, and their downtown disco, the "Music Institute". While in college studying music, Atkins met Rick Davis, a synthesizer expert who had just recorded an experimental record, and history was made. When very few people were paying attention, Cybotron was producing singles such as Alleys Of Your Mind (Deep Space, 1981) and Cosmic Cars (1982) that were changing the concept of dance music. The album Enter (Fantasy, 1983) contained a track, Clear (Fantasy, 1982), that was almost instrumental and already had all the attributes of techno. Techno City (1984) introduced the term "techno" to characterize a fast electronic beat. Atkins left Davis and new member Jon 5, who veered towards rock & roll, and move on to explore techno music. His first single as Model 500, No UFO's (Metroplex, 1985), is generally considered the first techno recording.

Atkins was a visionary, but followed in the footsteps of visionaries who had come before him. His aim was a futuristic music that would wed the most abstract funk of Parliament with the robotic synth-pop of Kraftwerk. Cybotron was his album-oriented project, while Model 500 was his.

In 1988 Atkins, May and Saunderson traveled for the first time to Britain and Atkins was invited to play in front of a huge crowd at one of the open-air events, so called "raves". Atkins soon became a staple of London's underground and helped spread Detroit techno to the rest of Europe through links with the R&S label in Belgium and the Tresor label in Berlin. The latter's duo of producers Thomas Fehlmann and Moritz Von Oswald joined him for 3MB (Tresor, 1994)

The mini-album Sonic Sunset (R&S, 1994) and the debut Model 500 album, a sci-fi concept titled Deep Space(R&S, 1995), featuring The Flow, were landmark events, as were the Classics (R&S, 1993) compilation of early singles and the Infiniti Compilation (Tresor, 1995) of obscure 1991-94 tracks recordings under the moniker Infiniti.

Infiniti's Skynet(Tresor, 1998) is a quiet and ecstatic work that sails off for the galaxies (Skyway, Postcards from the Future).

Model 500's Mind and Body (R&S, 1999) was a rather pale follow-up to Deep Space.

After a six-year hiatus, Atkins' The Berlin Sessions (Tresor, 2005) harked back to his Cybotron roots.

20 Years of Metroplex 1985-2005 (Tresor, 2005) is a comprehensive 2-CD career retrospective.