Another rambling wander through musical styles and eras. These mixes aren't planned and sometimes it shows in the rather eclectic journey we take. This mix does include some bits I really enjoy like the first delayed chord to run into Lokee (Shapeshifter's Lola's Theme). There's some cracking tunes too; I loved Bryon Stingily popping in for a brew, there's something about that track that gets your head nodding and you grooving a little.

Finally, a nod to the Mystery Man.


The Catbox Mix

Do You Want It (Right Now)?

Lokee's Theme

True

Bodyswerve

Playing With Knives

Move Your Body

Around The World

Sun Is Shining

Just Be Good To Me

Music Sounds Better With You

Get Up (Everybody)

The Answer

Funk Phenomena

1999

He Not In

Rushin'

Disco Tool

Together For The Love

Controversy

Love You Better

Barbrabatiri

Freedom

Shiny Disco Balls

Itza Trumpet Thing

E-Samba

I Want

Why Why

NOPUS

Safe

I was asked how many tracks could I squeeze into 45minutes or so. So this was my attempt. A real mixed-bag, fun and tomfoolery abound.


The Catnip Mix

JOY (God Only Knows)

Always Dancin'

Frisky

The Bomb!

One More Time

Love Is Real (feat. Mall Grab)

WTF (feat Amber Van Day

Sweet Dreams

Got To Be Real

7 Ways To Love

Finally

Your Love

JOY (Head To The Sky)

He's The Greatest Dancer

To Be In Love

Closer Than Close

Sugar Is Sweeter

Professional Widow

Disco's Revenge

Big Love

Faithless

NaNa Djon

Truth x Lies

Bella Ciao

Rhythm Is A Dancer

Rumour

NuLogic

The View

Summertime Sadness

I Want Your Soul

Somebody I Used To Know

Goodnight

Beyonce

Don't Go

Show Me Love

Stupidisco

One of my strongest DJing memories is playing a bootleg version of Prince's Controversy in Pacha, London in ~2005. It was an absolute belter of a record. It had the ability to straddle tougher sets and more accessible ones. It was universally liked and that pays homage to Prince's original.

This version is effectively the regurgitation of that same sample from 20 years ago and beefed up. There are multiple versions of the same track at play here giving a result that can be played in sets. There is a non "mean" version, which is far more accessible also.


This was a spin-off of the original: [Clapcat – You Got Me Good](https://www.clapcat.co.uk/tracks/you-got-me-good). I had the stems, so did a slight variation with a more "warehouse/rave" beat and a tiny breakbeat section.


You Got Me Good

This was a spun-off of the Warehouse Mix: [Clapcat – You Got Me Good Warehouse Mix](https://www.clapcat.co.uk/tracks/you-got-me-good-warehouse-mix). I had the stems and just wanted something a bit more raw. The second drop has more of a harder, raw edge to it which I quite liked.

Inspired by nostalgia for the disco funky house era of early 2000 and the hard-edge beaty drops of now, Dare Me is a combination of approximately 8 tracks and includes samples from Vintage Culture, Pointer Sisters, Faithless and Kibou. Heavily shortened for playing out and with only a single drop, Dare Me allows a glimpse of that funky house and disco throwback in amongst something a lot tougher.


Dare Me

I made this one New Year's Eve and whilst the fireworks were going off, I was reworking a new bass guitar into the back of this track.

I was fascinated by the [music video](https://www.youtube.com/watch?v=MlAoemc2yT0) and all that stick spinning they did in those tinfoil outfits. So I made it because I liked the original and it'd be great to give it some gentle beefing 🥩 so if you really wanted to tack it into an accessible house set, you could. It is sample heavy, but there isn't a great deal of vocal intentionally.

This version was quite popular on Soundcloud whilst it was there.

The original by the French pop singer Sheila and B. Devotion, produced by the very talented Mr Nile Rodgers of Chic, was released in 1979 and it reached 18th in the UK charts.


Spacer

Yotto and Joris Voorn are two of my favourite artists and when Joris Voorn rolled out his version of Yotto's Walls, I loved it. The trouble is; I couldn't play it. It didn't fit in the sets because it didn't have enough ooomph, enough wallop. So this version, which is actually the second remix I've done, isn't really a remix at all. It's a ... beefing up. New drums, extra sounds, slightly overdriven - you get the idea.

The original is amazing, I strongly encourage you listen and pick it up and you explore the work of both Yotto and Joris.


Walls

Well well. This was quite the surprise. The vocal came from an AI generator and then with the addition of a piano and a wobbly distorted bassline, it became this throwback funky house track with Solardo vibes. I think it might be a bit of a banger, it's catchy, melodic and the drop does a good job of slapping you in the gob.

Be sure to checkout the warehouse mix of You Got Me Good here: [Clapcat – You Got Me Good (Warehouse Mix)](https://www.clapcat.co.uk/tracks/you-got-me-good-warehouse-mix)


Ho ho ho. Sussudio. What was I doing? Well, no one can realistically dislike Phil Collins or the original surely...

I wanted to make something that actually didn't use much of Sussudio at all, but that didn't work and I ended up with this version. I didn't want it to be too "wedding music", so it barely has any vocal in it - just a single 16 and he sings the word Sussudio just once (save for some background). I mean it's still Sussudio so we're hanging on to credibility by our finger tips, but I'm sure there's a dancefloor out there somewhere who'd love a flashback to the 80s!


Sussudio

The original 1999, released in January 1999, sampled Donna Summer's Hurt Just A Little, it also (apparently) sampled a porn film. This remake was done several years ago and I find it a little raw. The kick and percussion is a little heavy and it's a bit too long, but I do like the extended Donna Summer sample and a number of the jackin' elements.


I loved [Yotto's Silhouette](https://www.youtube.com/watch?v=eXkH5pKD7So). It's this blissful chillout track with this haunting vocal layered over. But I would never be able to play it in its beatless form, so I made this remix. It's actually pretty rough in terms of production, but it is/has been popular on Soundcloud (whilst it was available there) and I think people enjoyed the wonder of the original with some movement.


Silhouette

Oh, how I love [Linus Loves VH1](https://www.youtube.com/watch?v=Wovvcqgl8OM). It went seemingly unnoticed in 2006 on their Stage Invader album. Using the Fleetwood Mac Big Love sample, it was an example of amazing synth work. This version doesn't do too much to it, because hell you can't get much better. What it does do is delay the drop massively and the first minute has been squeezed of gratifying sub and bass so that drop slaps you right in the gob. Lots of chops and re-introduction of the original Big Love sample rounds this quick dash back to 2006.


Let's go back to 2004, or at least slightly before when DJ Falcon and Thomas Bangalter _may_ [have released a house track](https://www.youtube.com/watch?v=s-fMiEJBrH8&t=0s) using Steve Winwood's "Valerie". Yet, in all the confusion, two other producers also released similar work; famously Eric Prydz and less-famously Red Kult. Confused? Well, [we all are](https://www.youtube.com/watch?v=qetW6R9Jxs4).

In all the confusion, Huse Monfaradi released the [infamous music video](https://www.youtube.com/watch?v=qetW6R9Jxs4) for Eric Prydz's Call On Me featuring Deanne Berry.

Twenty years later and it was time to pull that sample back out. There are young people who weren't around for the first time. With that, this track is a compilation/mash-up of no-less than 12 other tracks and samples (from Fisher to AVH). Most of the credit goes to [Mr Lasty from Italy](https://soundcloud.com/user-513870668) as large parts of the drum work and drop were his work.

This Clapcat version is compressed, adds the original Steve Winwood sample back in, has Armand's "U Don't Know Me" re-sampled and dropped in and chops things up so it sits in sets and compliments other tracks.


Call On Me

I ended up with two tracks from the Prince Controversy sample; which underlines its versatility. This version of Controversy has a gorgeous breakdown and piano work by ADHD. Thereafter the Clapcat retouch has a new drumline, samples from the original Prince track and from another remix and several other samples and one-shots.


The creation of this subtle remix was a complete accident. I wanted the main hook and breakdown from Jose Amnesia's Eternal; my absolute favourite trance track. I wanted that energy and melody in a house version. Originally, this was going to be a house track, with the Eternal melody being replayed, but I dropped a Volt - Sandcastles accapella in accidentally and boop; this became the result - sort of an EDM cross over. It runs at 130, but it isn't a house track really and is firmly still trance (albeit slow trance).


Eternal Sandcastles

Another rambling mix, keeping things quick and breezy. Track selection doesn't always run together, but hey - we're having fun, right?


The Catastrophe Mix

In Control

Touch The Sky

Luv U Baby

Paradise Garage

What About Me

Paint The Town Red

Freak It

Lille Vals

I Want Your Love

All Night Long

Ragga Tip

Break Down For Love

You Stopped Loving Me

Never Letting Go

Always Needed

Doin' It Right

In The Air

I loved Bessey's original, but it had a bit in the drop I didn't like and the hugely uplifting pianos weren't about long enough to really milk the energy --- in my humble opinion. So this version does little to the original except a new drumline, FX and a different drop.


Dangerous

Thank You began with a single trumpet stem from an AI generator. It became this. I wanted an afro house Nora En Pure-esque track and to have some energy in it. I think it does, but eye of the beholder and all that.


Thank You

Hugo Cantarra's Edit was the basis for this rerub and all the credit is his and Claptone's. This version is shortened, chopped up and heavily processed so it can be played in sets.


No Eyes (feat. JAW)

This mash-up of Cooly's Hot Box sample, Armand Van Helden's Funk Phenomena and Bleu Clair remix, a new drumline, lots of filtering, chopping and even the accapella resulted in this jackin' take on the long-ago original by AVH. I'm personally not a huge fan anymore, I think it might be too long and overuses the Cooly sample too much; alas, here it is nonetheless.


Who doesn't love London Grammar? Good lord they have made some fab stuff. Most of it not for Clapcat dancefloors though, except [ARTY's remix of Hey Now](https://www.youtube.com/watch?v=hzo1_maqV_w) which is quite something. This version is a beefing up of Samuel Sonder's lovely work. It's been cut down, redrummed had plenty of FX (love the thunder!) and uses Kolsch's remix also.


Baby It's You

Looking at the tracklist, this looks sickenly commercial. Something you might hear at Yates' or Chicagos' party bar on a Friday night. Well, yes, but no. It was made for my brother, who at the time celebrated his 40th birthday and the idea was to visit as many eras as possible through his life. It didn't really work like that, but it is eclectic enough. All the tracks are not the originals; not a one. Each one is beefier and housey to at least bring some credibility. Don't get me wrong, it's cheese madness here, but it's not completely cheesy.

I don't like some of the tracks I picked; looking at you Visage and Sting. I don't think they fit. Also, the George Michael accapella isn't in key with the intro - this is because it was two separate tracks pushed together live and only after starting did I realise they didn't really go; alas!


Clapcat - The Catbox Mix

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