simply red’s ‘fairground’ can technically be classed as a dance track, given its extensive use of a goodmen sample, indeed the OCC include it in their various dance countdowns...

 

'higher state of consciousness' is absolutely banging~ :dance: :music: :dance:

 

 

Love Higher State... Indeed I included it on my recent dance compilation thing as I've really warmed to it again of late.

The Dex & Jonesey mix released the following year is one of my faves of all time. Brilliant track.

 

It did confuse me when I bought a second hand copy of Now 32 and heard that weird radio mix though! Happily Now 34 has the better one.

A package of remixes would also achieve a one position improvement the following year under the alias Wink, but apart from yet another remix set 12 years later by Dirty South & TV Rock in 2007 (#70) his only other UK chart appearance was in 2000, on #23 hit “How's Your Evening So Far”.

 

Unless I am very much mistaken, he also had 2 top 40 hits in 1995-96 under the name Winx.

Unless I am very much mistaken, he also had 2 top 40 hits in 1995-96 under the name Winx.

 

Indeed you are correct - I have sacked my researcher. :P

 

Confusing because there was also a house project by Karl Klick and Walfried Böcker called Winx in the mid-1990s.

didn't know Sonique was the vocalist!!!!

simply red’s ‘fairground’ can technically be classed as a dance track, given its extensive use of a goodmen sample, indeed the OCC include it in their various dance countdowns...

 

'higher state of consciousness' is absolutely banging~ :dance: :music: :dance:

 

 

We take our own view of what's dance music and what is not. ;)

I can't see how.

 

The music in Set You Free is wonderful. Listen to it!

 

I know it very well from back in the day. It's just light euphoric rave :wacko:

The original and best (by miles and miles and miles) mix of Higher State of Consciousness there. It still sounds fresh 20 years later which you can't really say for the '96 remixes.

 

Didn't know that tidbit about Sonique (should remember that she was also in S'Express briefly in 1990!)

I know it very well from back in the day. It's just light euphoric rave :wacko:

 

 

And you're averse to euphoria?

 

I wasn't asking you to listen so that you'd know what it sounded like - but to actually listen to the music. The beats are not light so much as polished. I dont really understand anyone who likes dance music and can experience the music in this track - the riff, the beats, and claim it's on the same level as their cover of Stayin' Alive.

Ha, well I really like the groove of the original Stayin' Alive and have always enjoyed Ricky Lyte's rap style so, while I can appreciate they spent longer on Set You Free, I like them about the same.

 

'Euphoria' when it comes to dance music is an auto-antonym for me. I feel far from euphoric when I hear that kind of thing. It does me nut in!

Fair enough.

Everything But The Girl - Missing [Todd Terry Remix]

 

http://i294.photobucket.com/albums/mm82/TheMagicPosition86/rsz_everything-but-the-girl-missing-todd-terry-club-mix-blanco-y-negro-12_zps23vpiz1z.png

 

Date 22nd October 1995

12 Weeks (11 consecutive)

Official Chart Run 8-6-6-4-3-3-4-4-5-5-5-4-5-8-14-20-24-33-34-45-61-68 (22 weeks)

*Positions in red are the weeks when the track would be number 1 if just dance music was chart eligible.

 

On indefinite hiatus at the present time, in ’95 the career of Hull duo Tracey Thorn and (since 2008) husband Ben Watt seemed moribund, with 1994 LP Amplified Heart inspiring paltry #65 and #69 hits “Rollercoaster” and “Missing” respectively - they were subsequently dropped by Blanco Y Negro later that year, reaching their nadir but all was not lost!

 

Everything But The Girl were formed in 1982 when Thorn and Watt met at Hull University. Initially a small project worked around their University workload the group would enter the Top 40 in 1984 with “Each & Every One” and were named after a particularly non-PC sign in a Hull shop front which read: for all your bedroom needs, we sell everything but the girl. They struck gold 4 years later in 1988 when their cover of Rod Stewart’s 1977 #1 “I Don’t Want To Talk About It” (originally penned by Danny Whitten) achieved Top 3 status in the summer. Despite further minor Top 40 hits including a covers EP that went Top 20 in 1992, at the time their career seemed to be fading out indefinitely. However the group were approached and joined forces with Bristol’s Massive Attack to collaborate on Protection with Tracey Thorn providing her hugely rich and distinctive vocals on both “Better Things” and more notably the title-track “Protection” which went on to become a moderate hit (#14) in January ’95. It was to mark a definitive change in the groups sound from the maudlin acoustic balladry of their first decade, into a much more dance floor orientated sound.

 

Step forward well known American house and hip-hop producer Todd Terry, who in the winter of 1995, helped to replicate the groups earlier success success and more with a remix of the absolutely beautiful and criminally under performing “Missing” which would not only revitalise his own career, but save theirs too and brought the group to their most successful period with wide acclaim across the world.

 

Todd Terry took the delicate shimmering guitar hook of “Missing” - in which the protagonist powerfully conveys their inability to cope with the loss of a loved one and where Thorn laments: ‘and I miss you, like the deserts miss the rain’ - and sensitively remixed it adding a series of looped drum kicks and rich string synth accompaniment to beef the track up into a radio hit and club monster. The track struck a chord with the public, straightaway entering the Top 10 in October but rising towards the festive period in an era that was increasingly hostile to hits that displayed strong growth - perhaps because Christmas is a time when these feelings of loss, loneliness or melancholy are only heightened as excessive self-reflection takes over. It peaked at #2 in the US and became the first single to spend a consecutive year on their chart - racking up an eventual total of 55 weeks. The song was unfortunately never strong enough to make #1 (despite outselling many #1s) but ended up as the UK’s 9th biggest single of 1995, and makes up for it with the longest (12 non-consecutive week!) run on our countdown of 1990s dance.

 

Missing :wub: :wub: :wub:

A truly great song

I love that track, it's probably my favourite remix of all time. The chart run was amazing for the time too, I remember nobody expecting it to stick around, let alone spend 14 weeks in the top 10 at a time when any song was lucky to manage 4!

:music: ~ TUNE ~ :music:

 

what an amazing chart run that is though, even by 2015 standards that would look great.

It has got better with age, if anything.

Missing is still a very pleasant listen twenty years on.

 

The remix not only revitalized EBTG's career but also elevated Todd Terry to the Champions League of 90's DJ remixers together with David Morales, Junior Vasquez, Armand Van Halden and Joe T. Vanelli. Anyone who was anyone in music in the 90's wanted a remix of at least one of those five.

One of the best dance songs ever, should have definitely been a #1... was also unlucky to hit #2 in the US...

EBTG had this song clued Corcovado, sung in Portuguese, that's my fav from them and it's a pity it never became a hit...