Oh Shoat - you can hardly criticise my taste in MOR when you like that utterly horrendous Gregorian chant like original version of Delerium's otherwise incredible Silence :no:

 

Although I can't fault your inclusions of the legendary Forgiven Not Forgotten and the choral piano version of Creep (Scala & Kolacny Brothers if it's the same version as mine).

Quite interested by Hits' CD. Link please!

 

And bless you Hits for liking Fallulah, didn't do that well at BJSC but I'm so glad someone really liked it.

...

Oh Shoat - you can hardly criticise my taste in MOR when you like that utterly horrendous Gregorian chant like original version of Delerium's otherwise incredible Silence :no:

 

HUSH

Silence is one of those few tracks that has hundreds of different versions, and all of which are quite brilliant. Although perhaps not as immediate as the trance versions, the Gregorian chant original of Silence is WONDERFUL. But it wasn't the version I featured on my CD.

 

Tracklisting later this evening...

04. Arsenal - Melvin

 

Arsenal hail from Belguim and considering how long ago I compiled this, 'Melvin' finally made it into the top 10 in Flanders (Belguim) last week.

OMG!!! The singer on this is Shawn Smith (Pigeonhed, Brad, Satchel) and he is one of my favourite vocalists ever.

This is fabulous. Nice to see him finally going top 10 somewhere.

French Horn Rebellion vs. Database - Beaches & Friends (The Twelves Radio Remix)

 

I noticed this funky track at #1 in Brett-Butler's End of Year chart last year. I do make an effort to listen to anybody's EOY #1's that I'm not already familiar with and this definitely didn't disappoint me. It's definitely got a very 'French dance' sound to it, the sort of thing Daft Punk and Cassius excel at.

 

Glad to see you enjoyed this track - It's still as brilliant as when I first heard it, although admittedly it's not the sort of song that people would expect me to think was a favourite of a whole year.

Gooddelta, you included Hayling! That's a great track, I used to absolutely adore it back when it was released...

 

(I also have a soft spot for the gregorian chant-esque Silence too though :( )

Glad to see you enjoyed this track - It's still as brilliant as when I first heard it, although admittedly it's not the sort of song that people would expect me to think was a favourite of a whole year.

 

Indeed, it did come as a (pleasant) surprise upon first listen :o

 

Gooddelta, you included Hayling! That's a great track, I used to absolutely adore it back when it was released...

 

(I also have a soft spot for the gregorian chant-esque Silence too though :( )

 

It's gorgeous :wub: Of all of the acts I was trying to think of that were around at the same time to compare it to - I overlooked the most obvious - Zero 7. I was absolutely in love with any sort of laidback ambient chillout like that - Destiny, In The Waiting Line and Somersault are all still essentials for me.

 

I'm a big fan of Hafdis Huld though but thought that Hayling would be more unique for the compilation than any of her solo material.

 

I now have a laptop charger WOO. I now no longer have an excuse not to catchup on schoolwork / write this review either, oh no D:

You've only got over 1 day left. :lol:

But shh, deadlines are relative and not absolute. Or at least to me.

 

*of relative and not absolute importance

Edited June 15, 201114 yr by Harve

Thanks Shakilover, this was my compilation - really pleased that you got it seeing as it's your sort of music for the most part and hopefully you made some good discoveries. Here are the track names and my reasoning behind each one;

 

 

 

9. Camilla Blom Polfeldt - Gone

 

Earlier in the year, a boxset of demos for Melodifestivalen entries of days gone by leaked. BWO sent the song Gone in 2005 and as it turns out, this was the demo to it by some anonymous female singer who nobody's ever heard of (not even me!). It was the instant highlight of that boxset for me, she really brings a melancholy quality to the track, one for fans of emotional electro pop definitely. No longer version exists sadly, it cuts off at the 3 minute mark because of Eurovision purposes - which is one of my only criticisms of the contest.

 

[

 

Wooow so no one even knows anything about the singer? I just heard the one that made it to the festival and it doesn't touch this version. Thanks so much for including it. I'd never have come across this anywhere else!

guys review your cds

:thinking:

Wooow so no one even knows anything about the singer? I just heard the one that made it to the festival and it doesn't touch this version. Thanks so much for including it. I'd never have come across this anywhere else!

 

Nope, I can't find anything about her on Google! She's probably just a (hugely underrated) session singer or backing vocalist. I agree that I much prefer the demo to the final version, it's so much more haunting and mesmerising :wub: Glad you love it as much as I do!

Sorry, my life is on hold atm. I'm being subpoenaed to serving the army (for a year) and the whole situation is very shaky. I intend to continue studying and the law is on my side but it's kind of a grey area to be honest as some people say one thing, others - the opposite.

 

You british motherfuckers (males) should consider yourselves incredibly lucky.

Edited June 17, 201114 yr by P∆V‡L

Half Arsed $h!te (Review)

 

01. The first track starts with some guitar feedback type effect before the drums kick in. This sounds like Ash? I actually like some of Ash’s hits but don’t think I’ve heard this before unless it’s not Ash but a band who sound similar. Loving the breakdown at 2:55 in the song. A great opening track to this compilation. 8/10

 

02. This track starts off with a male vocalist with what sounds like a pleasant folk rock type song. Then it suddenly picks up pace around 0:32 and synths and acoustic guitar get the song going. The track is interesting to listen to but his vocals grate slightly. I haven’t a clue who the singer is. The track being 6:01 means it seems to outstay its welcome. If the length of the track was somewhere between 3:30 and 4:00 then this would probably be a more tolerable listen. Just as I feel like I’m losing interest, the song suddenly reverts back to the style of the intro. Not as good as the opening track but ok. 5/10

 

03. Another acoustic guitar intro with a female vocalist this time. Reminds me of Natalie Imbruglia for some reason (maybe it is Natalie :D ). The style of the song is very uplifting and for some reason makes me think of Kate Bush material from the 80s. The chorus is a bit of a non event and passed me by without even noticing. Is the track called ‘Lukas’? Lyrically, this isn’t a million miles off ‘Luca’ by Susanne Vega. 8/10

 

04. Eerie sounding pop music next. I’m guessing this track is called ‘Twisted’? Can’t identify the female vocalist but it’s got an indie style about the song. It does get a bit samey towards the end and I found myself losing interest slightly. Still a good song overall. 7/10

 

05. A sutble piano opens the track leading to a choir. Oh, this is ‘Creep’ by Radiohead only done in a piano ballad style. I’m not sure if I’m liking this. :lol: I still have nightmares of hearing G4 performing ‘Creep’ on The X Factor – it just didn’t work. I can understand people trying to be different but it doesn’t always work successfully. Actually, this version is quite haunting as it’s progressing. The whole sound getting louder as it continues. Interesting, but in this case not in a bad way. 6/10

 

06. Now a completely different change of pace. This is much more uptempo pop rock sounding. Male vocals and definitely not in English. I’m guessing this is a Scandinavian rock group? Musically this track is pretty decent. Gotta love a “la la la laa” chorus – at least that’s what it sounds like to me anyways. Another good addition to this album. 7/10

 

07. This track follows on nicely from the previous track. For me, this isn’t as strong a song as track 6 was. I notice this is 5:45 in length and at nearly two minutes into the track, I’m a bit underwhelmed by this song. Again, I think this song would be better if it was shorter. Or it’d probably work better if the song built up over the first two minutes then had all the instrumental layers playing together for the last half of the song. Awkward ending but that’s probably down to how the cd was ripped. Least fave song so far. 4/10

 

08. Continuing with the uptempo indie/synth music with this track judging from the intro. Already liking this more than track 7 with its punchy female vocals. Reminds me of Republica but not sure if it’s actually them. At 2:55 it’s the shortest song so far but it also means it doesn’t seem to drag on forever. Good track but there’s been better already. 6/10

 

09. This sounds very Lily Allen/Lady Sovereign. “don’t worry if I don’t write rhymes, I write cheques”. :D Is this the song title? The track isn’t that bad actually. It just doesn’t really build much, just remains the same throughout the song. Ok though. 5/10

 

10. Now the compilation is moving more into dance territory. Decent club track with whispered female vocals and it’s a great song whatever it is. Some nice layered sounds in this track too. Listening to the lyrics I’m guessing it’s called ‘The Spirit Of It All’? Good addition. 8/10

 

11. Nalin & Kane – Beachball The first song I recognised once the track got going. An Ibiza anthem with its breezy sweeps and synth pads playing throughout. There are other well known Ibiza anthems I prefer to this but ‘Beachball’ is nonetheless a good dance track. 7/10

 

12. From Ibiza to chill out dance. Oh, this is ‘Silence’ by Sarah McLachlin? I loved the Delirium remix of ‘Silence’ that was a big hit back in 2000. I’m not liking this version anywhere as much though. :( 3/10

 

13. Moving on and this track sounds like a cross between RnB and country. Oh, this is Seal singing. Can’t mistake his vocals as they are so unique. Don’t know this song though. Interesting change to the song around 2:30 sounding like it’s going into a different song. Ah, and indeed it does. Hmm, this part of the song does actually sounds quite dated. In fact it sounds like ‘Crazy’ so I’m guessing this is a Seal track from the early 90s? A nice addition to this compilation and certainly not the type of artist I was expecting to hear after the previous few tracks. It was alright but I’ve preferred other songs from earlier on more than this. 6/10

 

14. From Seal to what sounds like a US rock band? The song is playing along but I’m not really getting any impact from the song itself. Nothing is grabbing my attention here. Well, the track finished but it just seemed all a bit limp and lifeless. I’ve forgotten how it went already. 2/10

 

15. The Corrs – Forgiven Not Forgotton An interesting choice of song following the borefest that preceded it. :lol: Also the second song I’ve recognised from the start. Personally, there are other song by The Corrs I prefer more compared to this but this is again a nice albeit surprising addition to the album. 7/10

 

16. Ah, this is definitely Kate Bush. Odd as I’d only been thinking of Kate Bush after I listened to track 3. Maybe this should’ve been track 4 instead. :D You can always rely on Kate Bush for some interesting and unique sounding pieces of music. I feel like I should know what this song is but I don’t. :o It’s very cool and quirky though. I suspect this is one of, if not the oldest tracks on this album? Even at 5:25 in length I find this song slightly captivating to listen to. It’s really quite wonderfully odd which can be a good thing. 7/10

 

17. From one quirky song to another. Bongo drums, dreamy female vocals and police sirens. It’s all happening in this track. :D The only downside is that the song doesn’t seem to be going anywhere even though it’s just 2 minutes long. Bizarrely this is the first song that I’ve felt should’ve been longer to really get into the song more. After one listen I’m unsure what I think of the song so I’ll give it nice 5/10 (I don’t love it, I don’t hate it)

 

18. Maybe I’m being far too harsh but this song is seriously depressing me. The style of song, the chord sequence, the whiney male vocals. It just sounds like a song full of woefulness. Especially after the uplifting pop from the beginning of the album then the Euphoric highs halfway through. I’m now being subjected to this? :lol: This really is woeful stuff but I’m going on the assumption that this really is meant to be verging on mournful. Personally I’m finding it a bit too mournful for its own good. 1/10

 

To conclude, the vast majority of this album has been very good and I’ve discovered some great tracks along the way. The highlights for me being tracks 1, 3 and 10. The less said about the closing track, the better. :P Other than that, it’s been an enjoyable listen covering all different genres successfully. I’m going to guess that Shoat created this compilation album.

 

 

Well I can't even try and pretend not to claim this after The Corrs reveal. I knew it was a giveaway, but I really couldn't help myself. Bless Hits for implying that he was only making a wild guess that it was my compilation when in reality there was surely NO question whatsoever. Also the vast majority of Hits' guesses and assumptions regards the artists were quite BANG ON. Bravo.

 

Anyway, I stated right from the off that whoever ended up with my CD was going to be short-changed. If you were expecting to make new artist discoveries here, think on. Beyond maybe one or two exceptions, every act here will be quite well known to most people here (and also most likely viewed with some scorn). Like I said before, there is a good reason I have always steered clear of Unknown Pleasures. No real theme to my CD, it's simply a random melting pot of songs that I love, and my hope was that although the acts were for the most part well-known, some of the tracks/remixes may not be. It just so happens that being me, the result is a list of has-beens and commercial failures. HO HUM

 

I AM genuinely glad it was you who got this CD though. Although I did make a concerted effort to go for a little bit of variety, much of this would not have appealed to certain Indie posters here. GOD knows what Grebo would have made of this.

 

 

Half-Arsed Shite

 

 

01.

Full marks to you Hits, it is indeed Ash. This was one of the 26 singles released last year as part of their A-Z series. Not one of the singles did anything whatsoever on the chart, which was really a shame. Ash seem to have joined the growing legion of 90s/early 00s acts who can't catch a hit to save their lives nowadays. In the majority of cases, the commercial decline is deserved as acts lose their hunger to actually CREATE, and settle into farting out any old sub-standard MOR for Radio 2. Ash however came up with some genuinely magnificent material, and had the likes of Binary, Arcadia or Spheres been released ten years ago, they'd have been absolute MONSTERS. I included this as I wary that a lot of my CD was going to be rather plodding, and I fancied something rousing and brimming with energy to kick things off instead. It's the ideal mix of pop and rock.

 

02.

I'm not even going to pretend I know much about this guy, bar that he was once part of Arab Strap (who I know equally little about). But nevertheless, I've always found this to be an utterly charming folky record. I love the off-key organ intro, and I love the soft and plinky synths throughout the main body of the song. I can see however his strongly Scottish accent may be slightly off-putting (I have yet to work out if he sung the line "Songs these days are too wordy and the accents are all $h!t" with or without any sense of irony).

 

03.

You are embarrassingly spot on. Natalie Imbruglia is of course not exactly a discovery, but nevertheless this was one of the few tracks that I was genuinely confident that nobody here would have heard, given it featured on her fourth album, Come To Life, which sold fewer than 700 copies worldwide and wasn't even released in the UK (Natalie tried to pass it off as a "buzz album", which of course had NOTHING to do with it's abysmal performance in Australia beforehand). Written by Chris Martin for Coldplay's Viva La Vida... album, he eventually decided it didn't fit and gifted it to Natalie instead. He would later go on to claim that he made a mistake; he considered the track one of the best he's written and he wished he'd kept it for himself. It's an absolute shame that this will most likely never see the light of day over here, as it's possibly the best thing the woman has ever put her name to (even more so than Torn).

It was initially a little surprising to see you describe this as "uplifting", as the songs's actually a lament over lost love and missed opportunities! However production-wise, the verses are admittedly rather summery and sprightly. It's the chorus that MAKES this though, and I'm still genuinely surprised to see you pick it out as a lowlight - it's where the Kate Bush comparisons come in I think - the drums fall completely out of rhythm and Natalie raises her voice by a few octaves to simply coo sweetly over it all. It's wondrous.

 

04.

I am suddenly aware that with this inclusion, I have finally become an utter parody of myself. However, I shall stand by this song. Bizarrely enough given my huge penchant for MOR pissdrivel, I never really had any time for Katie Melua before last year; she was simply too dull even for me. But she really brought it with The House era; she and William Orbit were a match made in heaven, and he brought out the best in her. His subtle but atmospheric production style allowed her to branch out and embrace a more interesting pop styling, but at the same time without causing her to lose all of her original identity in the process; this was stuff that oldies and rubbishgais alike could get into.

Admittedly it's a little weak lyrically; as you identify, the chorus does get a tad repetitive after the 24th airing, and there's nothing here that will win her any Ivor Novellos. Having said that, she's never sounded so alluring than she does here; the dark and rumbling production is a perfect contrast for Katie's vulnerable and sweet vocals; I find this very Running Up That Hill-esque.

 

05.

As Gooddelta correctly identified, this is the Scala version of Radiohead's Creep; a Belgian girl choir; the sort of thing that normally I would have no time for, but this collective specialise in choir adaptations of random pop and rock classics (The Police, Garbage, Kylie Minogue, Nirvana, Rammstein and Terence Trent D'Arby are amongst many who get the treatment). This particular cover is one of the more well-known, and crops up on TV dramas every so often when someone is being murdered or stalked or whatsoever; it really is one of the most haunting tracks I've ever heard. Also the idea of a girls choir innocently singing "You're so f***ing special!" in unison makes the child in me chuckle.

 

 

LANGUAGE: SWEDISH

 

The definite highlight from their latest album, which pretty much sealed my love for this band. The clapping segments are incredibly addictive. Glad you liked it!

 

06. KENT - Skisser För Sommaren

Pavel revealing the tracklisting of his CD provided a vague LOL moment; it's only been since that I realised the track he sent me is not only performed by the same act as one of my own inclusions, but they both actually feature on the same album. I didn't know anything about Kent whatsoever; it's become quite apparent that I far from clued up on non-English music. I only discovered this particular track by accident on Spotify. I forget what I was actually searching for, but this followed on the shuffle afterwards. And it grabbed me instantly. Not being versed in Swedish, I have not the foggiest what they are singing about, so I can only go on the production of the song. Anyone can throw in a lazy "LA LA LA LA LA" chorus, but in this case, it really does make for one of the most rousing records I've heard in a long time. Perfect guitar pop.

 

07.

The first of a few cheap entries where I recycle acts that I used in the first CD Swap last year. But hey, as we've already established, my collection of non-chart hits is somewhat lacking. Mortiis is a band fronted by a rather strange little man from Norway who dresses up as a goblin. Musically, they're what Depeche Mode would sound like if they ever started toying with industrial goth-rock. It's an intriguing mix of techno, electronica and metal. The cut of the track was admittedly a tad flawed; you got the last second of Everybody Leaves thrown in there for free at the end. It's how it came on I-Tunes, and until last week I had no idea how to use Audacity to sort it out. Sorry :(

 

08.

For it is she who helped Mark Ronson on Bang Bang Bang; this is a punchy and snappy electropop number, and admittedly as you say, it's shortness in length is part of it's strength. It quits whilst it's ahead. As if Republica could ever sound this relevant in 2011!

 

09.

One who has yet to hit the big-time, but seems to be fairly well-known amongst the Buzzjack faithful. MUCH classier than Lady Sovereign; this is a quirky gem; it somehow manages to be modern and relevant, but at the same time it also sounds so CLASSIC. Uffie is one of the few acts out there where I'm genuinely baffled as to how she's not yet entered the mainstream given IT'S ALL THERE.

 

10.

Chicane is a bit of a master of the big-name collaborations; following on from his past triumphs with Bryan Adams, Tom Jones and Maire Brennan, he managed to also nab Natasha Bedingfield, Keane and Jewel to help him out with new tracks for his greatest hits set back in 2008 (he has also since added Owl City to his tally). Of the three tracks recorded for the greatest hits, it's this one that I am treasure the most. It plays to Chicane's key strength as a trance/chill-out guru, but the harsh and distorted synths here add just that little bit of edge to it all. I've also always considered Jewel to be an underrated gem as far as the UK goes, so I have an additional fondness for this.

 

11.

A bit of an Ibiza classic that is forever popping up on those Dance Anthem compilations that the Ministry of Sound chuck out on a bi-weekly basis (also featuring Saltwater, Insomnia and For An Angel) in case anybody missed them the first 421 times. So maybe an odd inclusion on a CD Swap designed to introduce people to new music, and I suspected it would be the one that people would already know (and you proved me right). But I've always felt that the original 1997 version has always been unjustly ignored in favour of the more prominent Tall Paul remix from 1998 - which is equally wonderful in it's own right, but I don't feel is QUITE as warm and calming as this version. As far as chill-out trance goes, this really is unbeatable. And I am not talking in hyperbole.

 

12.

NOT the original Gregorian chant version as previously asserted, but not a bad guess - this is Silence in one of it's chillout forms rather than one of the thumping trance anthem mixes.

What I love about this version is despite being a downtempo version, Sarah's vocals are actually sped up and pitched a lot higher than in any of the other versions (but not to the extent of being chipmunked). It adds to the euphoria of the whole thing; Sarah sounds absolutely STUNNING particularly in the middle eight. It's a shame you didn't enjoy this one; admittedly the backing track isn't particularly interesting but it is stripped back enough to really allow Sarah to to take control.

 

13. SEAL - Deep Water

This is the one track that I was expecting bad feedback on. It was only after I'd finalised the CD that I remembered my own reaction to this. It took my YEARS to get to the point where I even remembered how this went; very much the definition of slow burner. Now I've fallen in love with this though, there's no going back. I included this on the CD mainly because it makes for a VERY useful transition piece; the sudden switch halfway through the track makes for a good link between the chillout of the Delerium remix, and the American soft-rock of the next. It demonstrates perfectly the two sides to Seal that were present when he was actually relevant to the music scene and not just farting out covers of dad-soul. The first half is the soft and gentle singer crooning along to a pleasant acoustic tune; the second half brings in the crashing production and flips the track on it's head - it becomes a more dramatic epic number, which is where your comparison to Crazy comes in.

 

14. JAY SEMKO - Due South

It's the theme tune from THAT show, which anybody who existed at any point in the 1990s has no right NOT KNOWING. A wonderfully charming cop comedy/drama featuring a BEAUTIFUL but naive Mountie and his pet wolf, with one of my favourite telly theme tunes of all time. Admittedly it's sounding rather dated now, but hey. Canadian soft-rock with a country twang. I suspect it's my nostalgia for the TV show that is carrying my love for this rather than the song itself.

 

15.

The glorious title track of their debut album. Listening to this, it makes me sad to think of what they would later become. Bland fluff like Summer Sunshine really did them a dis-service. From that very first bleak piano riff, I love how dark this is; it's edgier than anything The Corrs have ever been given credit for. I particularly love the climax with the ad-lib chants layered over that final chorus which gives the whole thing a threatening almost-tribal feel, and the man who has been forgiven but not forgotten can be in no doubt that he has still been an utter bast*rd. You half expect Andrea, Sharon and Caroline to morph into the Three Witches of Macbeth and boil Jim alive for being born a male.

 

16. KATE BUSH - Get Out Of My House

And again, you are spot on - this could only ever be barmy old Kate. Here, the unwanted intruder in her "house" is apparantly a metaphor for a rapist. Appropriately so, Kate takes to properly SCREAMING at her attacker all throughout the entire song to "Get out my ho-oooo-uuuuu-sssse!!!!". This could be distracting, but actually it makes the track all the more effective - this is genuine pain and anguish here. It doesn't seem to be your everyday incident of rape though - it seems her attacker is actually in the process of inventing an all-new innovative method of rape! "No strangers' feet. Will enter meeeeeeeee!" It also appears to require the use of a cat, whom of course Kate also screams at. Things take an even more bizarre twist at the end where, failing all else, Kate does the only thing left that one could do in such a situation; she turns around and sweetly declares her intention to change into a mule. And lo, that is actually what she does, and the final two minutes of the track feature Kate and a backing vocalist actually hee-hawing and hee-hawing over and over again. Whether it provides a successful defence or not is unknown, but it really does make for one of the most interesting listens in my record collection. Only Kate could pull this off. And yes, I think this is the oldest track on the CD (it's the closing track from Kate's 1982 album The Dreaming).

 

17. SINGLE GUN THEORY - Decimation

Alas, there is no YouTube link for this; it seems I may actually have at least one genuine unknown gem here. Single Gun Theory are an act I only own two tracks of (this and From A Million Miles), but they seemed to specialise in early 90s electronica, New Age, and soundtracks to smoke spliffs to. In all honesty I only included this as a sort of interlude, and I needed something kooky enough to successfully cope with following on from dear old Kate. As you state, this has got a lot going on all in the short space of 2 minutes; African beats, yodelling, and a soothing deep female voice (not unlike Alison Goldfrapp) who then turns around and declares that everything is "so decimated" as police sirens come swooping in. An utterly confused mess, but no less charming for it.

 

18.

This is really the only one where I'm genuinely surprised (and a little disappointed in all honesty) to see you didn't like. I'd say this is (and Lukas) my favourite on the entire compilation. It's certainly meant to be mournful (we're reflecting on the end of a relationship here), so I guess it's very much a song you have to be in the right (or wrong) mood for. It's music to sob your heart out or slit your wrists to. It's possibly THE saddest song I've ever heard, and despite minimal production it really is beautifully atmospheric. You can just feel the bleakness of it all. I think perhaps this suffered a little bit from the tracklisting; coming straight on the heels of two rather kooky tracks, this one probably gets a little lost as it's much more subtle.

 

 

 

GOD I've rambled, but I'm half cut right now.

Due South theme tune? :lol: I'm considering this for my next compilation - don't try and pretend it wouldn't have been a hit single;

 

 

Robert Miles and Maria Nayler coud have covered it as the follow-up to One & One!

Sorry, my life is on hold atm. I'm being subpoenaed to serving the army (for a year) and the whole situation is very shaky. I intend to continue studying and the law is on my side but it's kind of a grey area to be honest as some people say one thing, others - the opposite.

 

You british motherfuckers (males) should consider yourselves incredibly lucky.

Your excuse certainly beats mine.

Due South theme tune? :lol: I'm considering this for my next compilation - don't try and pretend it wouldn't have been a hit single;

 

 

Robert Miles and Maria Nayler coud have covered it as the follow-up to One & One!

 

I used to watch the last 5 minutes of this program when I was 8 just so I could hear the theme tune - it was epicness to the extreme (at least I thought so at the time). Be there a full length version of the song?