Etikettarkiv: Classic FTW

Classic FTW: Scooter – How Much Is The Fish

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If you read last week’s article, you read that Ratty was a side-project to the popular german techno-band Scooter. So why not write an article of the main band? The track i’ve chosen for this week is How Much Is The Fish. (buy on Itunes)

Lyrics:

The chase is better than the catch

Transforming the tunes
We need your support!
If you’ve got the breath back
It’s the first page of the second chapter

I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back for the rhythm-attack
Get down in full effect!
I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back, so clean up the dish
By the way, how much is the fish?
How much is the fish?

Here we go, here we go
Here we go again
Yeah!
Sunshine in the air!

We’re breaking the rules
Ignore the machine
You won’t ever stop this
The chase is better than the catch!

I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back for the rhythm attack
Get down in full effect!
I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back, so clean up the dish
By the way, how much is the fish?
How much is the fish?

Sunshine in the air!
Come on! Na, na, na, na, na, na, na, na, na
Everybody! Na, na, na, na, na, na, na, na, na
Come on!
Together!
Yeah! Yeah!

How much is the fish?
How much is the fish?
Yeah!
Come on, come on
Argh!
Resurrection!

H.P. Baxxter and Rick J. Jordan had met long before in the synthpop-band Celebrate The Nun (with additional members Britt Maxime (sister of H.P.) and Slin Thompson back in 1987.

Celebrate The Nun hand some hits with the singles Ordinary Town & Will You Be There. The latter peaked at no 5 in the US Billboards Dance/Club play chart in June 1990. Their next hit, She’s A Secretary peaked at no 12 in the same chart in december the same year.

All in all, Celebrate The Nun released 2 albums and 5 singles before H.P and Rick left the project for Scooter.

Scooter was started in 1993 by Hans-Peter Geerdes (a.k.a. H.P. Baxxter), Hendrik Stedler (a.k.a. Rick J. Jordan and Sören Bühler (a.k.a.. Ferris Bueller) as a short term project.

Their first single, Vallée De Larmes was released in 1993 and didn’t get that much notice. It was first after the release of second single, Hyper Hyper that the guys saw that this wouldn’t be a short-term project.

The single did very well, both in the charts where it peaked at no 2 in the German singles chart and within top 10 in most european countries and it also did really well on the dancefloors. Worth noticing is that H.P. mentions most major DJ’s who were popular at the time in the track.

The followup, Move Your Ass! did even better and sold Gold in Germany with over 250.000 singles sold and had the same success in the charts. Worth noticing is that this was the first ever Scooter-track I heard. A friend of mine later bought the Hyper Hyper-single. The track also features the famous line ”It’s nice to be important – but it’s more important to be nice” which is somewhat of my motto.

The 1995 single Friends followed the same recipies as the earlier singles with H.P. Baxxter on vocals, except that they used a pitched up sample for the main song-part.
The track was in the top 20-charts all over europe. The followup, Endless Summer followed the same recipy and did as well in the charts.

The first Scooter-album, …And The Beat Goes On which featured 11 tracks including the ones mentioned above and some tracks which were featured on the b-sides to the singles.

With their second album, Our Happy Hardcore their influences can easily be spotted.
For instance, first single, Let Me Be Your Valentine samples ”Mu Mu” from The KLF. You can hear loads of KLF-influences when you listen thru material from 1996 and onwards.

The next track, Rebel Yell is a remake of Billy Idol’s track with the same name.
You can find more Billy Idol-influences when listening thru their albums.

I’m Raving is also a remake of Marc Cohn’s track Walking In Memphis (which many artists since have covered). The track did really well and peaked at no 4 in the German chart and even sold Gold. You can also hear a tempo-change from 160-190 bpm in earlier tracks to 138 bpm in this one. The track was featured on their third album, Wicked.

The single Break It Up is actually a ballad which was a big change from the bmp-pumped harddance-tracks they’ve done before and later became the first of many ballads.

The Age Of Love, the title track of the album with the same name is really influenced by the movie Terminator 2 and can easily be spotted in this track.

The next single, Fire was featured on the soundtrack to Mortal Kombat – Annhiliation and the single sold gold in Germany. It was also the last track that featured Ferris Bueller who left the band to pursue his solo career. Ferris Bueller was replaced by Axel Coon.

The fifth album, the 1998 release No Time To Chill featured Scooter’s biggest hit, How Much Is The Fish. The flute-melody was sampled from the track Zeven Dagen Lang by the Dutch band Bots.

The seconds single off the album, Call Me Manana samples the old L.A. Style-track James Brown Is Dead.

The sixth album, Back To The Heavyweight Jam (the title is influented by The KLF’s track Last Train To Transcentral) was released in 1999 and the first single off the album, Faster Harder Scooter did really well chart-wise and peaked at no 3 in Sweden and no 2 in Finland.

The second single, Fuck The Millennium (another KLF-reference as The KLF released a single as 2K called Fuck The Millennium) and did almost as well, peaked at no 4 in Sweden and no 3 in Finland. The single sold Gold in Sweden with over 20.000 units.

Their 7th album, the 2000 release Sheffield contained the hit single I’m Your Pusher.

In the track, H.P. calls himself Dave From Sheffield. Why Dave and Sheffield, nobody knows. Rumor has it that he was once interviewed by a guy who greeted H.P. As ”Hi, i’m Dave. Dave From Sheffield” but who knows why and what influented them.

Worth noticing is that this album was the first of many released on the label Sheffield Tunes which is a sublabel to Kontor Records and founded by Scooter.

Their second single, She’s The Sun is a slow track. The drumloop is sampled from an old Led Zeppelin-track called When The Levee Breaks.

Scooter actually got an award for Most Successful Dance Act at the 2000 Viva Comet Awards which IMHO is a big leap for bands like this. It’s not often that you see a group like this get an award as their music isn’t exactly radiomusic.

The single Posse (I Need You On The Floor) was the first track off the 2001 album We Bring The Noise. You can clearly hear the KLF-influences with the main sample taken from the KLF’s hit What Time Is Love. Also, parts of the vocals are taken from the track Human Resource – Dominator.

The next single, Aiii Shot The DJ was a pretty good track but it was with the next single Ramp (The Logical Song) that they saw chart-success again.

Ramp peaked at no 2 in the UK where it sold Gold with over 400.000 copies. The track was featured on the best of-album, Push The Beat For This Jam (The Singles 94-02) which was 19 of the best tracks so far and included 3 new tracks. Ramp was a remake of Supertramp’s 1979 track The Logical Song

In 2002, Alex Coon quit the band to pursue his DJ career and Jay Frog took his place.
The first track released with Jay Frog in the band was Nessaja. The track was influented by a track from German Peter Maffay called Tabaluga. The track did really well and peaked at no 1 in the German chart and sold gold with over 250.000 units and did really well in most european countries.

The followup, Weekend uses the main sample from Push – Strange World. There’s also a reference to The KLF with the line ”Respect the man in the ice cream van” The track did really well chart-wise and peaked at no 2 in the German chart and did top no 10 in many european countries. Worth noticing is the topless dancers in the video

Weekend was also the first track off Scooter’s 9th studio album, The Stadium Techno Experience.

Second single, The Night was the last who featured a high pitched voice sung by Nikk (married to Rick J. Jordan). The track did fairly well and got a top 10 spot in the german chart.

The third single, Maria (I Like It Loud) was a remake from Marc Acardipane’s track I Like It Loud and even uses the same MC (Dick Rules).

A fun fact about track is that during the shoot of the music video, H.P. Met his future wife.

The track did really well and peaked at no 1 in both Austria and Hungary and also reached no 4 in Germany

It was around this time I stoped listening to Scooter, especially after the single Shake That which was more disco-ish. If I hadn’t stoped listening at this time, I surely had stoped later.

After 2006 when Jay Frog left the band and Michael Simon joined they were heavily influented by Jumpstyle which I personally loathe. They did have some success after this though but they had lost me as a follower. I know many more who has said the same thing.

But again, you win some, you loose some as the old saying goes.

I was watching the DVD Scooter Live In Hamburg the other day and I realise that (except for the Jumpstyle-parts) that I really miss the good old Scooter. I only wish I’d have seen them live. For that would be the ultimate Scooter experience.

Billy Idol – Rebel Yell
Marc Cohn – Walking In Memphis
Terminator 2 Theme Song
Bots – Zeven dagen lang
L. A. Style – James Brown Is Dead
KLF – Last Train To Transcentral
2K – Fuck The Millennium
Led Zeppelin – When The Levee Breaks
KLF – What Time Is Love
Human Resource – Dominator
Supertramp – The Logical Song
Peter Maffay – Tabaluga
Push – Strange World
Marshall Masters feat Ultimate MC – I like it loud

Scooter – I’m Your Pusher (Airscape Remix)
Scooter – Faster Harder Scooter (Signum Remix)

Classic FTW: Ratty – Sunrise (Here I Am)

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This week’s article is from a sideproject to one of the biggest 90’s-band who influented alot of people to start listen to all kind of dancemusic. The most fun fact is that no one knew who they were when their first single came out and most people couldn’t even guess who it could be. I’m ofcourse talking about Ratty – Sunrise (Here I Am). (buy on Itunes)

Lyrics:

On the floating, shapeless oceans
I did all my best to smile
til your singing eyes and fingers
drew me loving into your eyes.

And you sang ”Sail to me, sail to me;
Let me enfold you.”

Here I am, here I am waiting to hold you.

Goosebump-points:

00:33 when that hypnotic bassline comes in.
01:00 when that synth comes in.
01:54 when the breakdown starts and the lyrics come in.
02:31 when the chorus comes in.
03:00 when the main synth comes in.
04:21 in the beginning of the second breakdown.
05:21 when the chorus repeats again.

Ratty has a quite odd background. Although created by the men behind the german Techno-band Scooter, they themselves never revealed who they were. On all promotional pictures, there were 3 persons dressed up as three big rats.

To confuse the record buyers more, the track were credited to Dave ”Bass” Parker, Slivo, Ed Harris and Finn Reder who in reality is Axel Broszeit, Hans Peter Geerdes, Hendrik Stedler & Jens Thele.

It was actually not Ratty in those costumes but 3 guys called Janse, Jean and Martin.
A fun fact is that Martin is Axel Broszeit’s older brother.

But let’s start from the beginning.

On February 5th 2001, the single Sunrise (Here I Am) suddenly appeared in music stores all over Germany and soon after, the track was released in Canada, England and USA. The track got alot of attention already from the beginning and there were some confusion to who could have done it.

”We just wanted to do something completely different that didn’t have the name Scooter on it,”- said Rick Jordan and Axel Coon ,” and it worked”

The original video to the track is pretty cool. Instead of rats running around a maze, there are humans running around in the maze, trying to find the exit and they are observed by big rats.

The vocals in the track comes from a track called Song To The Siren by the band This Mortal Coil and the vocalist on the track is none other than Elisabeth Fraser (from the band Cocteau Twins). The original track was released back in 1983.

The same vocals also appears in Lost Witness – Did I Dream (Song To The Siren) which was released in 2002.

Ratty tried to release a followup to the popular Sunrise-track but the track, Living On Video (a remake of the spanish band Trans-X’s track with the same name) but it never became that success that they needed. The track was released on vinyl only and it was about to go to be pressed on CD-maxi but the label stoped it.

It was first after the project was cancelled that Scooters manager, Jens Thele started talking about Ratty and who was behind it.

A cool fact is that even long before the Ratty-project started, you could hear Scooter mentioning them in some of their tracks.

On the 1998 album. No Time To Chill, there was a song called Expecting More From Ratty. Also, .Ratty was mentioned in the song Psycho (excerpt from the lyrics: …inspired by those people like Ratty…) and on the single She’s The Sun, there was also the b-side which was called Sunrise (Ratty’s Inferno), which is also a remix of Ratty’s Sunrise (Here I Am).

Ratty also did some remixes:

Marc Et Claude – Loving You (Ratty Remix)
Gouryella – Tenshi (Ratty Remix)
Starsplash – Wonderful Days (Ratty Remix)
Fragma – Are You Alive? (Ratty Remix)
ATB – Hold You (Ratty Mix)
Ron Van Den Breuken – Keep On Movin’ (Timeless) (Ratty Dub Mix)

So to sum it up, it’s not that often that a band/group/project get so much attention after just releasing one track. People usually call this a One Track Wonder but I’d have to say that even though they are right, it feels like the Ratty-project is too good to fit that group.

For me, the track is a true classic and I remember the joy I felt when I finally found the CD-maxi in my local record shop. I even got my rock-buddy to buy a copy!

I guess that the track, although more than 10 years old would still fit todays trance-goers taste in music, especially with that hard riff after the breakdown. For me, it will always be remembered as one of the best tracks in the world.

Classic FTW: Binary Finary – 1999 (Gouryella Remix)

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It’s hard to talk about trance classic and don’t mention this next track. It was one of those track that got re-released tons of times and is still getting new versions today. The track i’ve selected for this week’s article is Binary Finary – 1998 (Gouryella Remix). (buy on Itunes)

Goosebump moments:

00:41 when that fabulous Gouryella-bassline kicks in
01:09 when more of the melody comes in.
01:51 when the full melody kicks in.
02:47 when the lead comes into the breakdown.
03:01 when the strings come in.
03:27 when the lead goes up in tone.
04:24 when the full melody starts up again.

Australian born Matt Laws, Stuart Matheson started producing tracks in 1997. They were later joined by Sasha Vatoff who is their live-dj who tours the world.

The first version of 1998 actually came out in 1997 on a 2-track EP called 1998 / Zapya on UK label Aquarius

The track was later picked up by most major labels and remixed by many of the big names in the trance community.

In fact, 1998 was the first trance track that made it into the UK top 30. The 1998-version got as high as 24 whereas the 1999 version peaked at no 11.

The 1998-release got official remixes by Paul Van Dyk, Matt Darey & Dave Ralph, the 1999-release got remixed by Marc Et Claude, Kaycee & Gouryella and the 2000-release was remixed by Dumonde.

Of the lot, i’d have to say that I really love the original although it feels abit too fast for me. The first version I ever heard was the Paul Van Dyk-version which is more spot on what I liked at the time. It has those signature Paul Van Dyk drums and overall Paul Van Dyk-sound.

The version I fell in love with though was the Gouryella-version, but again, I’ve always been a big Ferry Corsten-fan and together with Tiesto, he made such beautiful tracks. That thumping baseline, that signature snaredrum, those melodies. It almost gives me a hardon just thinking about those tracks, too bad Gouryella isn’t around anymore.

I also like the Dumonde-remix as it has that harder Dumonde-edge to it.

On the Positiva-release of 1998/1999 (released in 2003), you can also find a Ronski Speed-remix of 1998 which was never release as a single.

Armada Digital later re-released it in 2010 with fresh remixes by Alex M.O.R.P.H., Tydi & Dennis Sheperd, Vadim Soloviev, Dabruck & Klein, Vegas Baby! and Kaimo K.

Since the release of 1998, there hasn’t been that many releases from Binary Finary. I guess that it was pretty hard to pick up producing after such success with the first single.

The 2001 release, Niterider is a pretty decent track. Feels more like goatrance than ordinary trance.

Together with Jose Amnesia, Binary Finary released Cloudbreak – Difference. A complex but still sweet track.

Binary Finary released their only album in 2006, called The Lost Tracks which contains 16 tracks that they’ve written since 1998, released on Armada Digital.

Lately, Binary Finary has been quite busy and released some 7 tracks since 2011. Most of them are collaborations with artists like Daniel Wanrooy, Rodrigo Deem, Matthew Nagle, Trent McDermott and Genix.

When you listen through the new material, you can easily hear that they have gone for a more modern style in trance. My guess is that most of the collaborations were made to find new inspirations on which way expand their music.

Next track to be released is Binary Finary & Vegas Baby! – Folded & Molded which you can hear a preview of here.

They have also been touring alot this year all over the world. I was supposed to see them perform this June but their gig got cancelled.

So to sum it up. Binary Finary has been around for quite some time. Although it’s been pretty quiet from them up to last year, they have still been busy producing and touring.

Their signature track, 1998 will forever be known as one of trance music first big hits and will hopefully live on forever as the record companies will keep on remixing the track for a fresh new audience.
Or atleast I hope so.

Classic FTW: Mirco De Govia – Voller Sterne (Super 8 Remix)

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[youtube http://www.youtube.com/watch?v=94wxYsv6VA0&w=680&h=383]

This week’s article is about a producer that has been pretty quiet the last few years. I discussed it with some friends and everyone said the same thing. Where has Mirco De Govia gone? So I decided to listen thru some of his stuff and landed on a true classic: Mirco De Govia – Voller Sterne (Super8 Remix). (Buy on Itunes)

Goosebump moments:

00:26 when you hear the hypnotic bassline fade in slowly and builds for another 40 seconds
02:32 when the second breakdown comes in.
02:59 when the music comes to an halt.
03:13 when the strings come in
03:41 when the synthstabs come in
04:23 when the full music starts again
05:19 when the guitar kicks in

German born Mirko Zettl started producing trance and techno back in 1991 but his first own release came in 1994 under his alias Mirco De Govia with the EP Romantic EP. After the release, Mirco took some time off to study computer science On on the release, there is a remix by his good friend Ralph Kyau (from Kyau & Albert).

When Ralph Kyau and Steven Moebius Albert started their record label, Euphonic in 1997, Mirco decided to start producing again.

His first release on Euphonic came in 1998 with the track Firebird which was featured Euphonic Compilation – We Come In Peace.

The first own single on Euphonic was Clubspring Meets Mindspring, a 2-track EP, both tracks are wellproduced tb303-monsters but I prefer Mindspring as it’s more in my taste.

The second single, Epic Monolith (co-produced with Ronski Speed) follows the earlier singles recept with a major tb303-bassline and a complex buildup. The piano in the breakdown makes this an complete epic trancer. Epic Monolith was later signed to Alex Gold’s label, Xtravaganza.

Things That Matter (co-produced by Ronski Speed) follows the earlier recipy and is a really epic trancer. Love the lead-instrument in the track.

Mirco’s first album, Chronoscale came out in 2003 and contained 2 cd’s. The first CD contained original tracks and the second CD contained Mirco’s remixes of other artists tracks. The album was co-produced by Kyau & Albert and Ronski Speed.

The featured track, Voller Sterne came out in 2004. It keeps that complex buildup from his previous tracks with a hypnotic bassline and warm pads.That breakdown is to die for. The album version is somewhat of a Chicane-ripoff with that balearic feeling and breakbeat drums. I prefer the Super8 Remix as its more driving but still keeps the warmth of Mirco’s original track.

Asarja was another collaboration with Ronski Speed. They each made a version of the track. Mirco’s version has a strong buildup, a balearic breakdown with piano and still that complexity over it. Ronski’s version is abit harder, it still keeps that balearic feeling in the breakdown and even has wave-sounds in it.

The 2008 album, Iconic Path was an all new album and contained loads of gems like Vital Spark and Evolution Part II along with 11 other well-produced tracks. All tracks were produced by himself and mastered by Rough Mullar a.k.a. Sonorous.

The last release we saw from Mirco was the 2011 track, Sleeping Beauty. While the album version is somewhat of a chillout-track, the Ronski Speed-remix is a techy monster. Love the piano in the breakdown.

Over the years, Mirco has also remixed track by Above & Beyond vs. Andy Moor,
Super8, Kyau & Albert, Sonorous, Sun Decade, Ralphie B & Lasgo with good success.

Although Mirco hasn’t quit producing yet, many of my friends asked if he quit the business as there has been quite quiet from him. I hope Mirco will keep producing for a few more years as I believe he still has some tracks in him before he retires.

His formula for producing still works, his tracks complexity is really awesome and the depth in his productions will still be modern for another decade. I love his use of the TB303-synth which was more frequent on his earlier releases.
I hope to hear some new tracks from him soon. If not, his old productions will live on forever.

Classic FTW: Commercial radio hits vs Trance remixes

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This week’s article is somewhat different than the others. Instead of writing about one track or one artist, this article will be about alot of tracks with one common thing.
All tracks are trance- or other EDM-versions of ordinary commercial pop-tracks.

My fascination with electronic dancemusic started at an early age. Could have to do with that my brother was into synthmusic or that my family had MTV already back in 1984.

I have never been a radio-person as I think that most tracks played there (especially the commercial radio stations) is played over and over until people are fed up with the tracks.

What I wanted to hear was something else than the ordinary radio-listener heard. I wanted to hear the club mixes or remixes of the tracks. So I started buying 12” singles and later CD-maxis to feed my brain with stuff that most people never heard (if they didn’t go to a club).

I started listening to clubmusic long before I started frequenting clubs as there’s usually an 18 year minimum on swedish clubs. But when my time was in, me and my friends used to go out 1-2 days every week, both to dance and to drink.

Enough about me, now let’s get back to the music.

I got this idea of this article while listening to Evanescence – Hello (Trifactor vs Gabriel & Dresden Remix). If you compare the remix to the original, the original is somewhat of an emo-ballad while the remix seems abit happier but still keeps the original piano and voice.

When you come to think about it, there has been alot of beautiful tranceversions which originated from radiomusic/commercial pop.

Original
Remix

Another track that’s highly thought of in the trance community is Delerium featuring Sarah McLachlan – Silence (Tiesto’s In Search Of Sunrise Remix) which is a bang-on trancer while the original is a slow track with gregorian chants but still danceable.

Original
Remix

When we’re on the subject of Delerium, they have been the remixers choice the last 10 years. The Delerium-single After All came in 2 versions. Original and Svenson & Gielen-remix. The latter usually found its way onto compliation albums whereas the original was only available on the album or as a single.

Original
Remix

Another example is the Madonna-hit What It Feels Like For A Girl where the official radio/video-version was the Above & Beyond Remix. Madonnas music has always been dance-oriented and the last few albums has been produced by the elite in the music industry to give her that dancefloor edge she’s always had strived for.

Original
Remix

Speaking of ladies, another remix favourite is Dido. Her original tracks has always been well-produced as her brother is the all-famous Rollo (from Faithless). Her track Sand In My Shoes got a well-deserved remix-work from Above & Beyond.

Original
Remix

Dido’s Don’t Leave Home got a treatment from Gabriel & Dresden. Both Dido-tracks are personal favourites.

Original
Remix

Another Dido-track to take a look at is Stoned (Deep Dish Remix) which is more housy than the original.

Original
Remix

Last but not least, the Armin Van Buuren-remix of Dido’s Everything To Loose.

Original
Remix

When mentioning Gabriel & Dresden, it’s hard not to mention their fabulous remix of Annie Lennox’s old ballad A Thousand Beautiful Things.

Original
Remix

Also worth mentioning is the Kuffdam & Plant-remix of Annie’s The Saddest Song.

Original
Remix

It’s hard to forget one of the first tracks that made the remix bigger than the original. 99% of the times when you hear Everything But The Girl’s smash hit Missing, it’s the Todd Terry Remix you’re hearing. It was one of those tracks that showed the music industry what power a remix can have.

Original
Remix

Another early crossover-track was the William Orbit remake of classical musician Samuel Barber’s track Adagio For Strings which got an awesome Ferry Corsten-makeover.

Original
Remix

Ferry Corsten also remixed a couple of Moby’s tracks, amongst others Why Does My Heart Feel So Bad.

Original
Remix

Ferry also did a tremendous job on Lighthouse Family – Happy

Original
Remix

It’s not only pop music that gets the dancefloor-treatment. For instance dutch rockers Kane got a sweet remix from Tiesto on their track Rain Down On Me.

Original
Remix

Tiesto also did a faboulous job on Skin’s track Faithfulness.

Original
Remix

I mentioned the Evanescence-track further up and also worth listening to is the Leama & Moor remix of Avril Lavigne – I’m With You.

Original
Remix

Even pop-synth artists like Depeche Mode has some really nice remixes out there.
Only When I Loose Myself gets a progressive remix by Lexicon Avenue

Original
Remix

Depeche Mode’s Peace gets a remix-treatment by Sander Van Doorn.

Original
Remix

The last remix I heard of their material that I liked was the Eric Prydz-remix of Personal Jesus.

Original
Remix

To sum it up. The artists original tracks are made for their original audience while the remixes are made usually to fit a dancefloor or to get the usual radiolistener a chance to hear their favourite track made in a different way to fit other moods. What we have heard the last 10 years or so is that most artists are getting more dancefloor-friendly.

A big example of this is the big crossover for american rap-artists to the european dancefloor with helps of DJs like David Guetta & Calvin Harris. No wonder that David Guetta was chosen the no1 DJ from the readers of DJMAG last year.

We can also see that big Trancemusic-names like Tiesto, Ferry Corsten & Armin Van Buuren is moving more towards housemusic nowadays as the big ”mass” which is into housemusic has taken over the dancefloors. Just look at the big parties like Energy or Sensation White which is more house-oriented nowadays than their origins in trancemusic.

My hope for the future is that some of the people listening to popmusic on the radio could find new listening grounds in housemusic or trancemusic when listening to their favourite artist thru the remixes. If only 5% of the listeners gets inspired, i’m more than satisfied. And I guess the remixers will feel the same.

Classic FTW: Dogzilla – Without You

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[youtube http://www.youtube.com/watch?v=hKi_H5ZJ5T0&w=680&h=383]

This week’s article is about a man who used to work as an A&R for several labels, a man that helped Seb Fontaine and Judge Jules pick songs for their Radio 1-shows, a man that used to hold a recidency at the legendary London club, Serious @ The Cross.

I´m ofcourse referring to Simon Patterson.

This week’s featured track is a collaboration between Simon and Richie Kayvan under the name Dogzilla and it’s their biggest hit, Without You. (Buy on Itunes)

Lyrics:

I hear you calling me
Haunting me
There\’s nothing I can do
without you, without you…

I stand here paralyzed
I\’ve realised
There\’s nothing
without you, without you…

If I could talk to you
Embrace you
Whisper in your ear
I would tell you

That, you are
The only,
The only thing I need

The only only only…
The only thing I need

I hear you calling me…
Haunting me…

I am hypnotised
Mesmerized
As I walk toward the fire

The fear comes over me
And then I see
The meaning of desire

If I could talk to you
Embrace you
Whisper in your ear
I would tell you

That, you are
The only,
The only thing I need

The only only only…
The only thing I need

If you could see my face
Hold my hands
Look into my eyes
I would show you

That, you are
The only
The only thing i need

The only only only…
The only thing I need

You are
The only
The only thing i need

UK born Simon Oliver Patterson started off his career as an A&R for various record labels. Like Age One, B Sorted Records, AM:PM, Ministry Of Sound and Incentive Records. His DJ career started in early 2000 as a resident for the legendary London club Serious @ The Cross

His work as a producer started in 2003 with production partner Richie Kayvan under the guise Dogzilla.

Their first single, Dogzilla was a pretty sweet trancer, especially the Simon Patterson & Richie Kayvan Remix. A fun fact is that the track was featured on the soundtrack to the british hit film The Football Factory

Your Eyes, the second single is another sweet trancer, especially after 03.55 just after the big breakdown.

Their biggest hit, the 2005 single Without You is an epic track and did pretty well in the charts. Supported by Djs like Paul Van Dyk who picked the track as his record of the year, the track was huge in most clubs around the world.

It was also re-released in 2010 with remixes by Rafael Frost and in 2012 with remixes by Simon Patterson whereas the latter was available for free on Simon Pattersons webpage but now removed.

Dogzilla’s last single, Frozen follows Without You as it’s more of a vocal track and also contains guitar-samples and is more rock-influented than a true trance-track.

Dogzilla only released 4 singles but still made a huge impact, especially with the 3rd single, Without You. Simon left Dogzilla in 2008 to pursue his solo career. A fun fact is that Richie Kayvan sings on all Dogzilla tracks.

Simon’s first solo-release, F16 was released in 2006 while Simon still was in Dogzilla. The track was later re-released in 2011 with a new mix from Nick Callaghan & Will Atkinson.

2007 saw the release of Panic Attack/Strip Search aswell as Bulldozer/We’ll See. Of the lot, all are really good tracks but Bulldozer stands out as a brutal banger, especially after the breakdown. A true classic!

2008 was a pretty productive year which started with Smack/Whatever It Takes. I just love Smack, especially the John Askew Remix which makes the banger bang even more.
Different Feeling is way more progressive than his usual productions but still has a nice vibe to it.
The followup, Us is back to the harder side of Simon. Love the lead with that angelic voice on top.

Something’s Up, the first of two collaboration with Sean Tyas is back to the slower side again. Just love the Commodore C64-arpeggios used in the track together with the piano in the breakdown. I think i’ve mentioned this before but i’m a sucker for pianos!

The second collaboration with Sean Tyas, the 2009 hit For The Most Part (with singer David Wright) is a banging vocal track. I especially love the Markus Schossow remix which is slower and more progressive.

Always, is one of my favourite Simon Patterson-tracks, so sweet, especially the female voice over the track.
Thump is another banging techtrance track from Simon, such a cool track, especially the driving bassline.

The 2010 tracks Taxi and Miss You. Both have a breakdown with a ovely piano but I prefer Miss You over the two.

2011 was quite a busy year with 4 releases
Mood Swing follows the recipy of the last few tracks with a beautiful breakdown with piano and an angelic voice on top aswell as Latika.
The collaboration with Greg Downey on Come To Me (with singer Bo Bruce) is another sweet vocal track.
Keep Quiet (with singer Luce Pullin) is another vocal track more to the commercial side of trance.
So What still keeps the techy side of Simons releases but abit slower than usual.

The last release from Simon, the 2012 track Within is back to the bangy side of Simon’s techtrance.

I just love the depth of Simon’s talents who can do tracks on such variety of tempos and still have that special Patterson-sound. I’ve seen Simon play a couple of times over the years and he has so far never disappointed me. When you go to a Patterson-gig, you know that you wont stand still. Simon is still pretty young and still has done so much in the trance community. My guess is that we’ll hear much more from Simon before he retire. He still got that drive to make bangers and as long as he’ll release them, people will dance to them!

Classic FTW: Filo & Peri feat. Fisher – Ordinary Moment

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[youtube http://www.youtube.com/watch?v=JppO4utPAyE&w=680&h=510]

This is the 30th article in the series, so how do you celebrate that? I did by taking some time off writing.
This week’s featured track is Filo & Peri featuring Fisher – Ordinary Moment (Main Mix). (Buy on Itunes)

Lyrics:

All I want
Is an ordinary moment here with you
No distractions

Tell the world
That you’re busy doing nothing
Cancel everything
Let it go

Meet me in the kitchen at the table
I just want to be alone with you
Stare into the eyes I’ve been missing
Don’t say anything
You don’t need to

All I want
Is an ordinary moment here with you
No distractions

Tell the world
That you’re busy doing nothing
Cancel everything
Let it go

Meet me in the kitchen at the table
I just want to be alone with you

Stare into the eyes I’ve been missing
Don’t say anything
You don’t need to

Do you know?

We’ve been working so much
We’re forgetting to touch
What have we become?

Do you know that it’s a crime
To never find the time to love

We’ve been working so much
We’re forgetting to touch
What have we become?

Do you know that it’s a crime
To never find the time to… to… lo-lo-love

Goosebump points:
01:27 when the driving bass kicks in.
01:56 when the main vocals kicks in
05:02 when the piano starts in the breakdown
05:18 when the chorus starts
05:44 when the guitar kicks in
06:00 when the main melody kick in again

American born Domenick Filopei and Bo Pericic started making music back in 2003. Back then, there wasn’t many americans who you thought about when you talked about EDM/Dancemusic as the whole dancemusic-scene, especially trancemusic were mostly europeans. The only big names back then from America was BT, Gabriel & Dresden and Markus Schulz but since their success, many new names has risen to superstar-level.

But let’s get back to Filo & Peri.

The combination of Filo’s rock-influences with Peri’s dance-oriented influecens was early a proclaimed as a match made in heaven. Their first release, Elevation/Juicy got signed to Armin Van Buuren’s label, A State Of Trance which in itself is a sign of quality.

Their second release, I:95/Spectrum was even better, especially the driving bassline and the soothing piano in I:95 after the breakdown. I:95 was one of Paul Van Dyk’s hidden gems that he used to play back in the days.

Their first vocal track, the stompin’ trancer Dance With A Devil (with singer Tiff Lacey) was another commercial hit and came with a huge remix-package from DJ Shog, Serge Devant and Flipside.

The 2005 collaboration with Mike Foyle ended up in Luana, an energetic trance with a beautiful breakdown. Just love the use of the piano in all kinds of music, especially when it’s played by Mike Foyle.

Their second vocal track, Closer Now (with singer Fisher) got alot of attention, especially by Paul Van Dyk who signed it for his Politics Of Dancing 2-compilation.

Their next track, Ordinary Moment (with singer Fisher) was even signed to Vandit Records and IMHO one of their best offers so far. I’ve always been a sucker for Fisher’s voice, especially in this track. Also listen after 05.00 when the breakdown starts with that piano and her voice. When the guitar comes in shortly after that, it’s pure magic!

The followup to the wonderful trancer Ordinary Moment was actually a bootleg of Doobie Brothers’s old hit, Long Train Runnin’. The housy bootleg never got an official release but was later released with re-sung vocals by Todd Plant.

One of their biggest hits to date was the 2007 hit The Anthem (with singer Eric Lumiere). The original version is a tight production, just like Ordinary Moment but I prefer the John O’Callaghan-remix as it skips the normal lyrics and only go for the verse which makes the track dub-like. I just love the guitar in the breakdown, so epic!

The followup, Shine On (with singer Eric Lumiere) is a really great track with awesome vocal and U2-like guitar-riffs. I prefer the Aly & Fila-remix though as it’s more uplifting.

Soul And The Sun (with Eric Lumiere) has some really epic vocals, especially in the breakdown. I prefer the Guiseppe Ottaviani-remix and also really dig the more progressive Jerome Isma-Ae Remix.

The 2009 hit Ashley (with singer Aruna) is another one of Filo & Peris biggest hits. The sweet vocals by Aruna is to die for and certainly a goosebump-song, especially the Alex M.O.R.P.H.-remix.

2009 was also the year that Filo & Peri’s first artist album came out. Nightplay was a pretty decent 15-track album containing all the hits to date and also a few new ones.

There were also a couple of EP’s released like Drops Of Jupiter and Drops Of Jupiter Remixed.

The next vocal track, Off The Hook (with singer Eric Lumiere) came out in 2010 and didn’t really make any big impression on me. It’s not bad at all but just went by me music-wise. The same goes for the rest of Filo & Peri’s releases except for This Night (with singer Audrey Gallagher) which I really liked. This Night came with sweet remixes from Dash Berlin, Max Graham & Alex M.O.R.P.H. just to name a few.

The last track I liked from Filo & Peri was the collaboration with Sara Crockett & Goodbye Pluto on The Hardest Thing. It differs in sound from the previous tracks as its more Pop-ish. Love the Norin & Rad Remix though.

IMHO, Filo & Peri’s glory days were from 2006-2009 and at this period they released some major tracks which in my books all are classics. I love the vocal collaborations with Eric Lumiere, Fisher & Aruna and how their vocals together with Filo & Peri’s tracks is a match made in heaven.

Classic FTW: IIO – Rapture (Riva Remix)

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[youtube http://www.youtube.com/watch?v=L-iX6gOdfHE&w=680&h=510]

This week’s article is about a singer who took the dancemusic-scene by storm as her first hit topped all major charts when it first was released in 2001. Since then, she’s worked with most major players in the house- and trance-scene like Armin Van Buuren, Schiller, BT and John Creamer & Stephane K just to name a few.

I´m ofcourse talking about Nadia Ali and her first big hit, Rapture with the duo iiO. (buy on Itunes)

I remember when Rapture first was released. All my music-friends talked about it, Armin hyped it, especially his own remix but I still prefer the Riva Remix over Armin, Deep Dish, Creamer & Ks versions.

Lyrics:

La
La la la la la la
La la la la la la
La
La la la la la la
La la la la la la

The night I laid my eyes on you
I felt everything around me move
Got nervous when you looked my way
But you knew all the words to say

And your love slowly moved right in
All this time, oh my love, where you been

Mi amore
Don’t you know
My love I want you so
Sugar
You make my soul complete
Rapture tastes so sweet

I’m mesmerised in every way
You keep me in a state of daze
Your kisses make my skin feel weak
Always melting in your heat

Then I soar like a bird in the wind
Oh I glide like I’m flying through heaven

Mi amore
Don’t you know
My love I want you so
Sugar
You make my soul complete
Rapture tastes so sweet

Mi amore
Don’t you know
My love I want you so
Sugar
You make my soul complete
Rapture tastes so sweet

La
La la la la la la
La la la la la la
La
La la la la la la
La la la la la la

Mi amore
Don’t you know
My love I want you so
Sugar
You make my soul complete
Rapture tastes so sweet

Mi amore
Don’t you know
My love I want you so
Sugar
You make my soul complete
Rapture tastes so sweet

La
La la la la la la
La la la la la la
La
La la la la la la
La la la la la la

(La la la la la la)
(La la la la la la)

Goosebump-moments:

01:12 when the full music starts.
01:55 when the break starts.
02:10 when the vocals starts.
03:35 when the second verse starts.
03:49 in the mini-break.
05:01 when the second verse starts.

Libyan born Paikstani, Nadia Ali emigrated to Queens, New York at the age of 4 and started singing at the age of 8 but it was first in the late teens that she got her recognition as a singer. She started working at Versace’s New York-office at the age of 17 and it was at one of their christmas parties that she performed and first got attention.

One of her collegues at Versace introduced her to producer Markus Moser who originally was looking for a singer who could write tracks for a German girl-group. Their collaboration instead ended up with their own material under the name iiO. They first decided on the name Vaiio after the Sony-computer that Nadia wroter her lyrics on but later changed the name to iiO.

The first track Nadia wrote, Rapture was written in 30 minutes and was based on an encounter with an Australian nightclub owner. Their first demo was first played at the New York-club Twilo and was later hyped by Pete Tong who played the demo-version on his Radio 1-show.

The track really hit it off when big names as Sasha, Danny Tenaglia and Sander Kleinenberg started hammering it at the Ibiza clubs the same summer and with the release of the single on Ministry Of Sounds label the following autumn, the big success came. The track peaked at no 2 in the UK Singles Chart and hit the same position on the Billboard Dance Hot Club Play Chart in the US.

Rapture has since it’s original release been licensed to various record labels and been re-released several times over the years. Since Rapture came out, iiO was on tour most of the time.

IiO’s next single, the 2002 track At The End did fairly well and peaked at no 13 in the Finnish chart an no 16 in the Danish chart. It came with a pretty good remix-package with reworks by The Scumfrog, Johnny Vicious, JCA, Saeed & Palash just to name a few. Out of the lot, I prefer the Scumfrog-remix.

The followup-single, the 2002 release of Smooth peaked at no 2 in the Finish chart and was released with 2 radio versions. The original, slow radioversion and the more uplifting Airbase radioversion. Of the two, I prefer the Airbase one.

Again, the single came with a pretty good remixes from Airbase, Steve Porter and Pig & Dan just to name a few.

The 2004 single, Runaway did well in Finland again where it peaked at no 2, and was released on CD-maxi with 7 versions or 3×12” with the same versions. I prefer the Ford Remix and the Austin Leeds vs Sinesweeper Remix over the Original Serenity Mix which is ballad-ish.

After the release of the 2005 single, Kiss You, Nadia Ali left the duo. Markus Moser finally got the long postponed debut album, Poetica, released the same year. The track peaked at no 3 in the US Billboard Hot Dance Club Play Chart and at no 5 in the Finnish chart.

Markus Moser kept releasing some tracks under the iiO-moniker and their biggest US hit came with the 2006-single, Is It Love?, which peaked at no 1 in the Billboard Hot Dance Club Play Chart.

There was even a second album, the 2011 release, Exit 110 which still uses Nadia on song although she hasn’t recorded with Markus Moser since 2005.

The last single from the iiO-moniker came in 2011 with It’ll Be Like.

When it comes to Nadia Ali’s solo career, she has had alot of success.

Her first single, a collaboration with the almighty Armin Van Buuren featuring Nadia Ali – Who Is Watching is the most meaningful texts she’s ever written. It’s about ”one’s struggle to reach the top, only to realise once one is there how lonely it is and how one has forgotten their priorities and the important people in their life”. The track peaked at no 19 in the Finnish chart.

Her first own release, Crash & Burn peaked at no 6 in the US Hot Dance Club Play Chart and came with an impressive remix-package from DJ’s like Roger Shah, Dean Coleman and Sultan & Ned Shepard Remix.

Love Story, the second solo-release topped the Billboard Hot Dance Club Play Chart and was even nominated for the Best Progressive/House Track at the 2010 International Dance Music Awards at the Winter Music Conference in Miami.

Nadia was featured on the MTV program Iggy in 2009 where she performed acoustic versions of Rapture, Crash & Burn and Love Story.

Third single, Fine Print was another chart-success and peaked at no 4 in the US Billboard Hot Dance Club Play Chart

Nadias 2009 debut solo album, Embers contained all 3 recent singles plus another 10 tracks including the 2010 single, Fantasy which actually was voted as the fourth single by her Facebook-fans. The Morgan Page remix of Fantasy was nominated for Best Remixed Recording at the 53rd Grammy Awards and was also chosen as the video version. There was also an alternative video with the album version.

The album title, Embers was chosen because ”most of the songs that I wrote were about relationships that I’ve experienced and how they leave like tiny embers inside me still”.
Embers was also released on Nadia Ali’s own label, Smile In Bed along with all the singles from the album.

There was also 3 remix-albums released, Queen Of Clubs Trilogy: Diamond Edition, Ruby Edition and Onyx Edition. Where the Diamond Edition contains extended versions, the Ruby Edition contains remixes and the Onyx Edition contains tracks that features other artists and Nadia on song.

Since Embers, Nadia has been working on her second studio album with the working title ”Phoenix” for which she took 40 days off in February 2012. She even moved from New York to Los Angeles after living there for 26 years just to get inspired for the new album. The only own release we’ve seen so far is the Youtube-video, When It Rains and the EDX-single This Is Your Life with Nadia on vocals.She’ll also sing on the upcoming track from BT, Must Be The Love.

Nadia Ali’s unique singing has always made me curious. Her original material is really great but the remixes takes her tracks to a whole new level. I hope she’ll finish her second solo album soon as her future still looks really bright. If the new album fails, she’s still some true classics in her luggage to keep her touring for several more years. Hope to see her on the road nearby soon!

Classic FTW: Three Drives On A Vinyl – Greece 2000

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[youtube http://www.youtube.com/watch?v=-cXMnZ2vrx8&w=680&h=510]

When people think of classic tracks, especially tranceclassics, I guess this next tracks comes to mind in a few cases. When released back in 1997 I guess noone knew how big this track would eventually become. With several re-releases over the years and licensing to more than a dozen labels, this is truly a classic! I´m ofcourse talking about Three Drives On A Vinyl – Greece 2000. (buy on Itunes)

Dutch born Erik De Koning (a.k.a. Enrico) and Ton van Empel (a.k.a. Ton T.B.) both have tonnes of various aliases on their own and some 14 aliases together. This article will only focus on their Three Drives-alias though.

The name Three Drives On A Vinyl came from the fact that both of them could play on 3 decks at the same time. However, there was a mixup with the record production staff early on in their career so many releases were licensed as ”Greece 2000 – Three Drives On A Vinyl” as they couldn’t imagine a group calling themselves with that name. Many record labels also shortened the Three with a 3. Eventually, they shortened their name to only Three Drives.

Greece 2000 was originally released on the Massive Drive Recordings label (Owned at the time by their good friend Mark Van Dale and later to be run by Ton Van Empel). It was released in most countries as a single with a few different remixes but in Germany and The Netherlands it was first released as an EP with Greece 2000 as the A-side track while Not Overdrive and Piano Freq on the B-side and later released as an own single. The track eventually peaked at no 44 in the UK Charts.

The year after, Greece 2000 (The Remixes) peaked at no 12 in the UK Charts.

Greece 2000 is one of those tracks that you recognize instantly and gives you goosebumps. I remember first hearing it sometime in 1998 and didn’t think much of it then. But it eventually grew on me and is today IMHO one of the best pre-2000 anthems ever. It just gives me a special warm feeling and almost teary eyes.

The followup 1999 single, Turkey 2000 did fairly well and came with a pretty good remix-pack by Southside Spinners, Atlantic Ocean and Jaydee just to name a few. There was also a white label with a remix called Taskforce ”Greece” Mix which uses the original sound of Greece 2000 with the new track.

The same year also saw Three Drives debut album, 2000 which contains Greece 2000, Turkey 2000, Italy 2000, France 2000, UK 2000, Germany 2000 and USA 2000 just to name a few.

1999 also saw the release of Superfunk, an EP with Superfunk, Europa 2000 and A Very Good Day.
Both Superfunk and A Very Good Day shows some new influences. While Superfunk samples some funky track, A Very Good Day sounds more balearic/spanish.

The next big success, the 2000-track Sunset On Ibiza was another chartclimber and peaked at no 44 in the UK Charts. The remix-pack included versions by Yves De Ruyter, Above & Beyond, Sonorous and Sirius There was even a vocal-version released. The track was hyped by Judge Jules who played the white label 5 weeks in a row on his Radio 1 show.

A fun fact is that many releases has the Sonorous version on it but mislabeled as the Above & Beyond Remix due to the fact that they have the same length.

The 2002 single, Carrera 2 was another chart-climber which peaked at no 57 in the UK Charts. It came with a remix-package with version from Gabriel & Dresden, Roger Shah & Pedro Del Mar, Nu-Nrg & DJ Montana.

Three Drives’s second album, Melodies From The Universe came out in 2003 and contained 2 Cds. The first one was original mixes of their tracks wereas CD2 were remixes of their tracks.

2003 also saw the first of many re-releases of Greece 2000, this time with a massive G&M Remix.

The 2004 release, Air Traffic was another chart-hit and peaked at no 75 in the UK Chart. Air Traffic came with a pretty huge remix-pack by Cor Fijneman, Montana and Bobina just to name a few, and eventually a vocal version with singer Julie Morrison.

Signs From The Universe was released the same year and has a massive TB-303 bassline in it. It’s a pretty decent track.

Greece 2000 was re-released in 2005 with remixes by Marcel Woods, Mark Norman and DJ Chus just to name a few. It was also re-released in 2007 with remixes by Plastic Angel, Leama & James Davis and Koishii & Hush just to name a few. The 2008-version contained remixes by Daniel Portman & Chris Reece. The last re-released was in 2010 with remies by Sander Van Dien, Mycel & Lush 7 just to name a few.

Together, released in 2008 was an EP with the tracks Together and Feel The Rhythm.

Their last new release, Automatic City from 2009 contained remixes by Orjan Nilsen and Fast Distance.

The last we saw from Three Drives was another re-release of Greece 2000, this time with vocals and called Letting You Go. Originally remixed by Dabruck & Klein for an Armada compilation album called Hands On Armada vol 2 and later remixed by Armada residents Roger Shah and Markus Schulz. The 2012 release got the 1997 vibe but still sounds fresh, even after 15 magnificent years.

Three Drives has accomplished some big tracks over the years, especially Greece 2000, Carrera 2. Sunset On Ibiza and Air Traffic. They have played their tracks all over the world and most major DJ’s still play their tracks every now and then. Their latest releases sounds fresh but still keeps that classic Greece-sound.

Ton T.B. Is still active, both as a producer and DJ so I hope to hear him perform a classics-set soon.

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Etikettarkiv: Classic FTW

Classic FTW: Scooter – How Much Is The Fish

Classic FTW: Ratty – Sunrise (Here I Am)

Classic FTW: Binary Finary – 1999 (Gouryella Remix)

Classic FTW: Mirco De Govia – Voller Sterne (Super 8 Remix)

Classic FTW: Commercial radio hits vs Trance remixes

Classic FTW: Dogzilla – Without You

Classic FTW: Filo & Peri feat. Fisher – Ordinary Moment

Classic FTW: IIO – Rapture (Riva Remix)

Classic FTW: Three Drives On A Vinyl – Greece 2000