Everyone who's been anywhere near a dance floor in the past 5 years can't fail to have heard the now familiar wub-wub-wub sound of the breakdown on this monster record. The first time you hear it it's a bit of a WTF moment, but soon you realise the dancefloor power that those deep acid noises bring with them.
But it wasn't always this way, this record has quite a story behind it. Lets go back to the original version, a completely unremarkable trancer which would have disappeared into the mass of similar low brow trance records of the era. The orignal version in 1999 featured the Club mix and the Dub mx - standard fare for most records, the record company must've had some early interest and success because they commisioned a couple of remixes from producers Pascal F.E.O.S. and Timo Maas. It's not clear what expectations they had, but Timo went to the Studio with his engineer and long time collaborator Martin Buttrich and propmtly put together an excellent remix which put the original to shame. This was duly delivered to the record company.
I'm a little hazy on the reasoning, but the record company rejected this remix, and asked Timo to go back to the studio to fulfil the contract. This clearly upset the dynamic production duo who set about creating a remix which was so bad that the record company would have no choice but to release the original mix. It turned into a hard breakbeat driven track with farty bass noises and offensive squelchy synths, and a breakdown which consisted of nothing but an evil sounding, slowly accellerating, acid sweep which sounded like it had been dug out of hell itself. I imagine Timo had a one of his trademark grins on his face when he delivered this audio monster to the record company.
And then, unexpectedly, the record company used this remix, it got released in 2000 and became the record of the year, everybody was playing it, it fitted into trance, house, breaks and techno - everybody heard this record and it sold bucketloads. The original mix faded into obscurity, and to capitalise on the success of Timo's remix they commissioned more producers to remix the remix. Top honours in this second wave of mixes must go to the Stanton Warriors who basically kept Timo's mix largely unchanged and added a ragga vocal from Slarta John (who'd previously done vocals for Basement Jaxx). The wub-wub noise from the breakdown got sampled and reworked for a number of soundalikes from a variety of artists. Azzido da Bass stopped producing crap trance music and started producing halfway decent breakbeat records, and of course made a chunk of royalties from the record. Timo, on the other hand only got his one off remix fee, but his status as DJ and producer sky rocketed and he's now one of the leading lights in the DJ business.
