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The original was maybe the biggest track of its time. It has gone down as a classic, with it still getting played now- not showing any age to it! As for hybrid-who doesnt know hybrid-kings of nu skool breaks-could they maintain the reputation of xpander? They have had some pretty reputable productions themselves... is this remix likely to go down in history as a great one?

1 sided promo:

The track starts with the intense breaks (that we love hybrid for!) and some nice effects in the background. Suddenly the track unleashes into life with some absolute quality electronic effects dominating the track. It hits the first break leaving you with a teasing feel of whats about to come. The breaks return in similar fashion to beginning but this time the xpander melody is starting the edge its way through. The breaks decrease a layer so the melody hits the front. A superb mimi vocal sample it added to give this track a bit more of a difference to the original. The vocal becomes a bit more intense to en the melody and restart the menacing breaks. These coast you to the next break. Brilliant stabs are used to keep the track interesting. The second half of the original is used (where the melody peaks) to again smash back into action with all the body of the track. The melody ends in the same styleas before leaving the breaks to conclude the track.

This is a monster of track- really intense breaks combine with the famous melody to give this track a whole different feel. Keeps the reputation up well-as i feel remixing a classic can be difficult as it has high expectations. I feel that this may not be as played as the original purely because it is breaks-but it should be! an outstanding track by the outstanding producers. Expect plays from all the usual suspects on the breaks scene. Great production!

* it was brought to me that this may be signed to a certain label - but for now as i have it as a white label i am not going comment on that- but feel free to comment yourself.

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© Taken from the Global Underground Page and edited

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