Classic Review: Cosmos - Take Me With You

Label: Polydor [065 995-1]
Release Date: September 23rd, 2002
Rating: 10/10

Having only heard this for the first time in the last year, I can truly testify that this is a timeless masterpiece that was years ahead of its time when it was released. "Take Me With You" is the result of a genius producer deciding to make the most accessible record he could possibly make. The producer, of course, is Tom Middleton; one half of the legendary ambient-house outfit, Global Communcation. Middleton's work here is exceptional, as he creates a lush, anthemic house track that has infinite melodic appeal. The track is simple in structure, but its unpretentious melody and relentless kick are so unbelievably pleasing to your ears, that you won't care. The Vocal mix is a bit of a disappointment. The music is essentially the same, but a syrupy male-pop vocal pushes the track into cheesy territory. Despite this disappointment, this release still gets high marks because of amazing quality of the instrumental. Overall, an amazing release from a fantastic musician who continues to push boundaries and innovate nearly 2 decades since arriving on the scene.

Classic Review: 108 Grand - Te Quiero

Label: Brute Records [BRUTE05]
Release Date: 1992
Rating: 10/10

An old classic that holds up surprisingly well 14 years later, 108 Grand's "Te Quiero" was a forgotten gem until John Digweed included it on his MMII compilation in 2002. The original mix is a nice toe tapper with it's catchy organ bassline, but the real superstar of this release is without a doubt Darren Emerson's Underworld remix. Epic doesn't even begin to describe this record's wonderful melodies, driving rhythms, and heavenly breakdown. Emerson's dreamy Strutt remix sounds like a cross between his Underworld remix and the original mix, and ends up working quite well. The Acorn Arts remix sounds like a longer, less interesting version of the original. Fortunately, Digweed included Emerson's Underworld remix on the vinyl version of MMII, so fans looking for just that track don't need to hunt this rather rare piece of vinyl. Those up for the hunt however will be regarded with a couple more lost gems to add to their repetoire.

Classic Review: Joi - Asian Vibes

Label: Real World [RWSCD9]
Release Date: 1999
Rating: 4/10

"Asian Vibes" is a hokey new age pop track featuring an "ethnic" vocal layered over a simple distorted guitar riff. Both the original mix and radio edit are hopelessly trite. The Skeewiff remix isn't worth your time either. The only reason to check this out is for the Way Out West mix. The Bristol duo transform the original into a dirty progressive breaks track with a haunting piano line and plenty of classic WOW touches. Progressive breaks and hardcore WOW fans might want to track this down for the remix, but it's not worth seeking out otherwise.

Classic Review: Spooky - Gargantuan

Label: Guerilla [GRCD006]
Release Date: 1993
Rating: 8/10

Along with Leftfield's Leftism, Spooky's Gargantuan helped define the progressive house that we all know and love today. There are some bonafide classics on this album. The epic "Little Bullet Part One" sounds absolutely majestic over a decade later, and so do "Little Bullet Part Two" and "Schmoo" (including the smooth Dub version), albeit to a lesser extend. These tracks are timeless classics that have aged marvelously.

Your not going to like every song though. The opening "Don't Panic" is just cheesy and annoying, and "Land Of Oz" is in the same vein saved only by an infectious bassline. The closing "Let Go" doesn't really do much for me either. But for the most part, what's here is good. Progressive house fans should pick this up for their collection, though this doesn't quite qualify as essential in my book save for "Little Bullet", which should be in everyone's collection. Also, check out the superb "Little Bullet" High Velocity remix on Sasha & John Digweed's Renaissance Mix Collection or on the single release.

Classic Review: Global Communication - Keongaku EP

Label: Evolution [EVO004]
Release Date: 1992
Rating: 8/10

Tom Middleton and Mark Pritchard's first release as Global Communication is a beautiful, warm, ambient piece of techno in the same vein as their later releases under the same guise.

"Incidental Harmony" starts with a slow heart beat and progresses to those familiar lonely melodic swoons. A cute, playful beeping melody emerges over top, and the track continues on in similar fashion for the better part of 9 minutes. Enchanting. "Sublime Creation" is a sinister ambient down-tempo track, with organ-like synths and laid back hip hop beats. Good, but not quite as ear catching as the A side.

If you enjoyed Global Communications work on their Pentamorous Metamorphasis or 76:14 LPs, I recommend checking this out. This used to be a rarer then hen's teeth but the 12" was recently rereleased on Discotheque, and both tracks were included on the bonus CD of the remastered release of 76:14.

FYI: Keongaku is Japanese for "Easy Listening Music."

Classic Review: Cass & Slide - Diablo

Label: Flying Rhino Records [AFR 044]
Release Date: 1999
Rating: 10/10

Cass & Slide's first, and one of their best. Evolution's redub is irresistably bubbly and energetic. But don't neglect the flip! Cass and Slide's own Advocate Mix is great as well. It's electrifingly energetic, deep, melodic, complex, and not one bit cheesy. Progressive trance at it's finest.

Classic Review: Sasha - GU013: Ibiza

Label: Boxed [GU013CD]
Release Date: September 20th, 1999
Rating: 10/10

Sasha's Ibiza mix might as well be renamed to "The Greatest (and most timeless) Late 90's Progressive House/Trance Tunes (which doesn't mean anthemic cheese) mixed by Jesus and arranged by God". Only kidding ... but seriously, you'll be hard pressed to find a better DJ mix. This is easily Sasha's best mix CD to date, the best Global Underground compilation to date, and would probably rank in the top 10 DJ mixes of all time.

The most important element of a DJ mix is track selection (obviously). Sasha went all out with this mix selecting classic tunes and remixes from the biggest producers of the era (and some, of all time). The production and remix prowess of Sander Kleinenberg, Orbital, Breeder, Humate, Quivver (as Space Manoeuvres), BT, Cass & Slide, Pob, Evolution (as Bluefish), Bedrock, and Sasha himself cannot be denied. There is a drawback: all of these anthems might give the mix a slightly sterile feel. I say might because, depending on how long you've been listening to electronic music, you'll probably have heard a least a couple of these tunes before. Other Sasha mixes tend to have a slightly more exclusive track listing, with a greater variety of rare underground (for lack of a better term) tunes thrown in. So, your listening experience will vary.

Tracks alone, of course, don't make a DJ mix album. The DJs ability to arrange and mix the songs into a cohesive statement or story, is what makes or break the album. And no one does this better than Sasha. Technically superior DJs exist (James Zabiela), but no one has the epic, emotional, human element in their DJ sets quite like Sasha does. The mixing on this album is superb, and like any great mix album does, it elevates the quality of the tracks to another level. Listen to the transition from Jimpy's "Talkin" to Pariah's fantastic remix of Space Manoeuvres "Stage One", and then to Sander Kleinenberg's "Sacred". Absolutely brilliant.

Lastly, comparisons to Sasha's live DJ sets aren't really fair. A DJ set on CD, and a DJ set live are two completely different formats for obvious reasons, and therefore, must be approached differently in both recording, and listening. To sum things up, this is the finest solo mix album Sasha has ever released, and six years later, it still stands head and shoulders above the sea of compilations released since.

Classic Review: Spooky - Schmoo

Label: Guerilla [GRRR45CD]
Release Date: 1993
Rating: 10/10

Like Spooky's other progressive house classic, "Little Bullet", "Schmoo" is absolutely irresistible. The infectious looping organ synth riff is instantly catchy, and will definitely get toes tapping wherever you play it. The two Underworld remixes are also both excellent. The Underworld Mix is a thundering industrial techno trance number with a rolling bassline and some Dirty-esque looping piano arpeggios, while the Steppin Razor Mix drops the melody and is almost entirely percussive. This release is definitely worth seeking out if you’re a fan of early Underworld/Spooky productions.

Classic Review: Blue Amazon - Star Of David/The Blessing

Label: Jackpot [WIN003]
Release Date: 1995
Rating: 8/10

Blue Amazon's second release on Jackpot is another example of superb epic progressive house that sounds just as good now, as it did 10 years ago when it was originally released. Blue Amazon were definitely ahead of their time. "Star Of David" is an epic piece of house that progresses in movements similar to piece of classical music. The dreamy opening strains remind one of Orbital's "Halcyon", but mood is quickly turned sober with a sinister bassline and thumping beat. The music builds to a riveting crescendo midway through the track, before moving into the songs main melody and slowly dropping out. "The Blessing" is a manic tribal number unlike any other track in Blue Amazon's catalog. Several layers of looped ethnic drums frame a simple but catchy bassline, with slices of acid melody hitting at just the right moments. Excellent stuff. Strangely, neither of these tracks were featured on the duo's eventual full length album despite the plug on the vinyl sleeve (see the notes).

Classic Review: Leftfield - More Than I Know (Demixes)

Label: Outer Rhythm [FOOT 09R]
Release Date: 1991
Rating: 10/10

Absolutely haunting. A truely beautiful piece of music. Back when happy, over-the-top Italian house was dominating, here's comes Leftfield creating music that moved you on a whole different level. Although simplistic, and certainly of a different era, "More Than I Know" has a universal, timeless appeal that seems to transcend genre. The two B side tracks are the ones that really caught my ear. The "More Mix" is a stunning down-tempo number, that exudes a sort of majestic ambient beauty that reminds one of the aching beauty of a Oliver Lieb or early Moby production. The "Even More Mix" strips back even more of the original's percussive elements, giving the song a dreamy ambient quality. Simply superb stuff, and just one of many classic productions from two of progressive music's true pioneers.

Classic Review: Bedrock - Set In Stone/Forbidden Zone

Label: Stress Records [CDSTR80]
Release Date: 1997
Rating: 9/10

A classic late 90's progressive trance tune that still sounds great. 'Set in Stone' is as epic and melodic as Digweed & Muir have ever sounded. Clocking in at just over 11 minutes, this song takes you on a journey through twisting synth dub like no other. The release at the end of the track is classic '97 era trance (in a good way), with an emotional eruption of beautiful synth arpeggios. 'Forbidden Zone' on the other hand, doesn't hold up nearly as well. Sounding almost goa-esque in it's intensity, the synth textures here are very dated, and are not nearly as pleasing to the ear as those in 'Set In Stone'. Of course, there really isn't much goa out there that doesn't sound dated a couple of years after it's released.

Classic Review: Leftfield - Song Of Life (Underworld Remixes)

Label: Hard Hands [HAND 002R]
Release Date: 1992
Rating: 10/10

Of all the versions of Leftism's 'Song Of Life' that are out there, Underworld's Steppin Razor mix would probably get my vote for the best of the bunch. In my opinion, it is the most timeless and progressive sounding of any mix (though, I still love the original mix's bouncy bassline). Of course, if Sasha & Digweed's immortal 'Song Of Life' medley featured on the Renaissance The Mix Collection were considered a legitimate version, then it'd be a different story. Anytime I listen to the Lemon Interupt or Dub For Life mixes, I feel like something is missing (those familiar with the above mentioned medley and unmixed versions as well will know what I'm talking about).

Classc Review: Leftfield - Song Of Life

Label: Hard Hands [HAND002]
Release Date: 1992
Rating: 8/10

Those familiar with Leftfield's classic album Leftism, will find that the original 'Song Of Life' featured here, and the version featured on the Leftism album are much different. The original 'Song Of Life' (circa 1992) is upbeat, with a chunky bouncing bassline, heavy helpings of funk, dub, and of course, those yearning chants. The Leftism mix on the other hand, is downtempo during the first portion of the song, and sounds very similar to the Fanfare Of Life mix featured on this release. Also of note, the two versions of the original mix featured here are edits. The original mix featured on the vinyl release is in excess of 9 minutes long, where as the extended mix featured here is almost 30 seconds shorter.

Classic Review: Quivver - Saxy Lady

Label: A&M Records [AMCD515]
Release: 1994
Rating: 6/10

'Saxy Lady' was Quivver's first tune, and while it didn't turn out to be a classic like Quivver's other A & M records release, 'Twist & Shout', it's still an enjoyable listen. Released in '94, 'Saxy Lady's' sound is firmly planted in house territority, but there is definitely a progressive edge to Quivver's production that fans of his Perfecto releases will recognize.

Part 1 (which is essentially the main mix, and the basis for the radio mix), is a great toe-tapper with a nice dubby bassline, some funky sax work, and a nice rythmic synth line. Part 2, which is basically a dub mix, goes for a darker sound, with less BPMs, and washing chords cut by stabbing acid synth lines. A decent listen, but inferior compared to Part 1. Lastly, 'All Night', which starts out with some cool minimal synth lines, doesn't take long to develop into a cheesy house song that never develops a decent groove.

While not nearly as fun the sublime 'Twist & Shout', 'Saxy Lady' is still a fun piece of early progressive, and one that would most certainly satisfy fans of Quivver's other early work, as well as fans of the Renaissance Mix Collection era style of house.

Classic Review: Apollo 440 - Liquid Cool (Volume Two)

Label: Stealth Sonic Recordings [SSXCDX3]
Release Date: 1994
Rating: 9/10

The second CD in Apollo 440's two CD 'Liquid Cool' single release is just as excellent as the first disc, if not better. One of my favorite tracks of all time is Deep Forest's Ice Cold @ Equator remix of 'Liquid Cool' (which was used on Sasha & Digweed's first Northern Exposure). If you (like I) love this track, then you owe it to yourself to check out the other two Deep Forest remixes featured on this CD.

The first remix, Deep Forest's Trans-Afrique Life Extension Express remix, sounds similar to the Ice Cold @ The Equator remix, but it's sped up, the melodies are rearranged, and it's given an amazing dubby house beat and bassline. These touches meld into an absolutely delicious chunk of epic dubby trance that is easily on par with the Ice Cold @ The Equator remix. Ollie J's (AKA Deep Forest's) Live Dubs remix is a stripped down alternate version of the Trans-Afrique remix which focuses more on the beat and various dubby basslines than on the melody, and is very good as well. The other two remixes by Space, I found to be rather dull and dated sounding.

Although this particular CD is a bit rare (it took me a little while to find one myself), this is definitely worth checking out if you enjoyed the other Deep Forest remixes of this song.

Classic Review: Breeder - Rockstone

Label: Rhythm Syndicate [RHYSYN003]
Release Date: 1999
Rating: 10/10

'Rockstone' is my favorite Breeder production, though from the looks of it, many DJs were not in agreement with me at the time of it's release. 'Rockstone' only appeared on one DJ mix album that I know of (Northern Exposure Expeditions), whereas 'Twilo Thunder' and 'Tyrantanic' both appeared on in excess of ten mix albums. This is surprising considering what a great piece of music this is. A thunderous piece of deep progressive trance, textured with several layers of swirling melody, 'Rockstone' is ideal peak time material with a huge breakdown (an unfortunate trance cliché that miraculously WORKS here), and the inevitable and very rewarding pay-off. This is as good (and maybe even better) than anything Breeder has done, and deserves recognition as such.

Classic Review: Leftfield - Open Up/Cut For Life

Label: Vinyl Junkie [VJAY12]
Release Date: November !st, 1995
Rating: 7/10

'Cut For Life' is an excellent alternate mix of the Leftism version of 'Song Of Life'. The song starts off similarly to the original Leftism mix with the dubby down-tempo reggae beat, but around the two minute mark, the song suddenly shifts gears, dropping the thunderous beat and chunky bass line from the last half of the original Leftism mix. The rest of the song chugs along in similar fashion, changing up the beat and adding different sounds here and there before finishing up in similar fashion to the original.

An interesting tidbit: Nick Warren said this is one of the three vinyls he keeps in his box at all times (the other two being The Age of Love's 'Age of Love' and Mory Kante's 'Yeke Yeke'). Here are his comments on Leftfield and this track: "Leftfield are one of my favourite bands. Their sound is so British in the way they take their influences from dub reggae to hip hop to techno and mix it all up and come out with something that wouldn't get made anywhere else. This track has all these elements. It starts with half speed reggae and comes in with all the elements of dance tracks that I love."

Classic Review: Quivver - Believe In Me

Label: Perfecto [PERF111CD]
Release Date: 1995
Rating: 8/10

I love early Quivver (and Tilt) tunes! Bright, over-the-top synth arpeggios coupled with thick, chunky basslines and Quivver's own upbeat vocals make for perfect mid-90's progressive house work-outs. "Believe In Me" was an Oakenfold favorite and it's easy to see why. The SPS remix isn’t nearly as fun, though the Phar Out Mix is an interesting breakbeat version take, but neither beats the excellent original mix.

Classic Review: Stoneproof - Everything's Not You

Label: VC Recordings [VCRD47]
Release Date: May 3rd, 1999
Rating: 9/10

John Graham's conventional pop song attempt (under alias Stoneproof) is decent, though the reason to buy this release is for the classic Quivver mix. He transforms the moody R&B into a spacey, deep progressive house track with excellent moody vocals (provided by Graham himself) and an unforgettable tribal beat. The single was one of the biggest hits of '99 being spun by everyone from Oakenfold to Sasha, and helped re-establish Graham as a solo producer to watch apart from his contributions with Tilt.

Classic Review: Space Manoeuvres - Stage One

Label: Hooj Choons [HOOJ79CD]
Release Date: January 17th, 2000
Rating: 10/10

The absolute best track John "Quivver" Graham has ever written. Deep, melodic, trippy, original, and endlessly interesting, "Stage One" is a progressive trance classic of endless appeal. This release includes both the Separation mix and the Total Separation mix, though it would have been nice if Hooj had also included some of the remixes featured on the vinyl releases of this track (vice the worthless radio edit). Also, Sasha & Digweed's Northern Exposure Expeditions features a superbly blended Total Separation/Separation mix that is nothing short of incredible.

Classic Review: Rabbit In The Moon - Deeper/Dusk

Label: Hallucinaton [HAL006]
Release Date: April 22nd, 1997
Rating: 9/10

"Deeper" and "Dusk" are classic heady breakbeat numbers, and two of Rabbit in the Moon's best productions. "Deeper" is the more somber of the two featuring melancholic chanting and atmospheric synths before picking up the beat midway and dropping some signature RITM acid melody. "Dusk" on the other hand is a more upbeat tribal breakbeat number of classic RITM style. Unfortunately, this 12" is ultra rare, and extremely expensive for those who do find it.

Classic Review: Lost Tribe - Distant Voices EP

Label: Hooj Choons
Release Date: August 25th, 1997
Rating: 10/10

Matt Darey's "Distant Voices EP" under the alias Lost Tribe is a staple release of the late 90's trance movement producing two of the biggest hits of the era. "Angel", which was featured on Sasha & John Digweed's Northern Exposure 2, is a soaring breakbeat number with soothing vocals, heavenly washing synths, and a blissful piano melody that will transport anyone to heaven instantly. "Gamemaster", which was featured on Paul Oakenfold's groundbreaking Tranceport, is just good trance music with a killer groove (though I don't care much for the cheesy monolouge). The Four Four Mix of "Angel" is the same song except with a four four beat, while "My Soul" is very similar to "Gamemaster" (and actually sounds very similar to Matt Darey's 99 Mix of the track). Either way, the original mixes of both "Angel" and "Gamemaster" alone make the release worth owning, and both are certainly deserving of their lofty reputations as timeless late 90's trance hits.

Classic Review: Spooky - Little Bullet

Label: Guerilla [GRRR56CD]
Release Date: 1993
Rating: 10/10

Spooky's "Little Bullet" is a classic progressive house song that remains as engaging and amazing today as it did over a decade ago when it was originally released. The single release includes the original Gargantuan LP release (listed as "Little Bullet, Part One"), and two excellent alternate mixes. The High Velocity mix of the "Little Bullet, Part Two" (as featured on Sasha & John Digweed's Renaissance: Mix Collection) is much more melodic and interesting than the original. The Dum Dum mix of Part One strips away the thumping percussion and adds a rhythmic synth line along with several layers of ambient musings to great effect. The incredible Live Version of "Little Bullet" featured on the Bamboo single release is actually based on the Dum Dum mix, albeit much improved.

Classic Review: Quivver - She Does

Label: VC Recordings [VCRD61]
Release Date: 2000
Rating: 9/10

"She Does" is Quivver's melodic progressive trance masterpiece! This comes close to the best thing John Graham has ever produced (falling only behind "Stage One" under his Space Manoeuvres alias). The infectious bassline and melody get me moving almost everytime I hear it. The pop song version (Manfat 4 mix) is way less interesting. The alternate mix featured on John Digweed's GU014: Hong Kong is superb as well with a deep, hypnotizing, Breeder-esque bassline.

Classic Review: Sasha & Digweed - Northern Exposure 2

Label: Ministry of Sound [NECD2]
Release Date: September 22nd, 1997
Rating: 10/10

While this statement may go against popular belief, Northern Exposure 2 is superior to the original Northern Exposure. While neither mix on NE2 quite matches the majestic quality of CD1 of NE1 (but then again, what does?), both mixes are classics in their own right whereas CD2 of NE1 was comparably weaker when compared to other mixes in the NE series.

The first CD is a gorgeous down tempo/break beat mix in the same vein as the first CD of NE1. The mood and atmosphere is different however. Whereas NE1 CD1 was earthy, organic, and spiritual, the first CD of NE2 is jazzier, funkier, more melancholic, and near the end, more euphoric. The mix starts off phenomenally with an ultra chilly mix of Gus Gus' "Believe", which perfectly segues into Chicane's mix of Furry Phreaks' "Soothe". After we're transitioned with Violet's "Burn The Elastic", we're treated to the less memorable funky breaks of Prana's "Geomantik" and Acoustic Hoods "Cycle Of Time". Frontside's "Dammerung" brings a more serious tone back with its beautiful melancholic melody, which sets up for the mixes first and last 4/4 numbers, and also the most amazing numbers on the whole album. The trickling melody of Doi-Oing's "Blue" is perfectly blended with a superb live version of Spooky's classic "Little Bullet". The live version included here is even better than the original with washing synths and several layers melody that bring the album to it's first peak. While both of the tracks are amazing in their own right, this is a case where the expert DJ mixing of these two tracks creates something that is greater than the sum of it’s parts.

Having already reached heaven 8 tracks in, the funky breaks of Uberzone's "Botz" is dropped bringing the mix back to the earth before slowly climbing back up with some of the most euphoric electronic tracks ever recorded. The tinkley melody of Fluke's "Reeferendrum" builds perfectly into Lost Tribe's gorgeous "Angel" (incorrectly listed as "Distant Voices" on the back cover), which out of nowhere turns into Gus Gus' mid-tempo masterpiece, "Purple". The final track, Hybrid's "Symphony" is perhaps the most emotional electronic music I've ever heard. A perfect closer to a near perfect mix.

The second CD is the more danceable of the two CDs, with some of the best progressive house tracks of the era/ever. Opening with Cygnus X's "Positron" (incorrectly listed as "Superstrings" on the back cover), a lush, bouncy, euphoric mood is instantly created, only to be torn down by the stabbing melodies and abrasive percussion of Speedy J's "Fusion". Humate's classic "3.2" is mixed in creating a dark, atmospheric sound, that melds perfectly with William Orbit's/Spooky’s remix of Sven Vath's techno classic "An Accident In Paradise". The Light's "Panfried" and Third Man's "Solar Cycle" keep the beat steady, before the duo really turn up the energy with L.S.G.'s "Netherworld". The Jules Vern mix heard on this album is the best version of the song I've ever heard emphasizing the best elements of the song, and creating a hard hitting progressive house floor-filler. Taucher's melodic "Waters" is perfectly mixed in holding the peak created by "Netherworld" to over ten minutes of sheer electronic bliss. "Teach Me" by Art Of Silence is a serene break from the energy, but we're soon brought back to 4/4 floor-stomping energy with Transa's anthemic (and somewhat formulaic) "Enervate", before slowly closing with the trance inducing groove of Armin's "Blue Fear".

The weak moments on CD1 are when the mix goes for the more abrasive, funky numbers, but in the scope of the album as a whole and in terms of setting up the more serious melodic songs, they work. CD2 on the other hand, while more immediately accessible and overall consistent, it is ultimately less resonating than it's counterpart. Still, as a whole, this is the strongest entry in the Northern Exposure series, and an essential for any electronic music fan’s library.