"Infinity 2008" was a freshers anthem for me and I still love it. SO euphoric. Played it a good amount in DJ sets myself as well as on my uni radio show which was dance music focused. Also like Klaas's versions of "What Is Love" and "Freed From Desire" - will have to check the exact versions I played when back home.

Infinity 2008 is great, love the atmospheric saxophone and the drop is fantastic too. Great euphoric dance tune.

 

The original Infinity (1990s... Time For The Guru) is great too. I like how the lyrics of the song released in early 1990 introduce the 1990s!

Edited July 3, 20187 yr by The Snake

I never knew Guru Josh had died :o

 

Love Infinity! One of my fav's from 2008!

other dance hits to make the chart since Basshunter was last dance #1

 

Christian Falk feat. Robyn - Dream On (#29) [okay but not one worth going back to really]

George Sampson - Get Up On The Dancefloor / Headz Up (#30) [didn't even know this existed, both songs are awful as you'd expect! the first one samples a few songs but mostly C&C Music Factory so it kinda counts here, the other one isn't remotely dance though]

Basshunter - Jingle Bells (Bass) (#35) [yep this was a thing that happened]

Basshunter - I Miss You (#32) [don't recall this but as I expected, I wasn't missing out on anything, why did we let Basshunter have this many hits?!?]

 

Lawd what a f-ing bleak time for dance music. :mellow:

LOVED "Dream On"!!

Lawd what a f-ing bleak time for dance music. :mellow:

 

Better than now though!

Kid Cudi vs. Crookers - Day 'N' Nite

 

 

Date: 18 January 2009

Weeks at #1: 4 weeks

Official Chart Run: 2-2-3-6-9-13-18-20-24-28-30-30-34-41-49-45-47-56-68-71-83-67-70 (22 weeks top 75 +1 top 100)

 

 

Time to kick off 2009 and what a track to kick it off with! 2009 was a year furthering the dance-urban connection following great success for the likes of Dizzee Rascal, Wiley and Ne-Yo ("Closer") the year prior. This time, Italian production duo Crookers picked up Cleveland, Ohio based Kid Cudi's 2008 debut single "Day 'N' Nite" and turned it into a barnstorming electro-house anthem with a killer bassline. The remix was released in the 2nd week of January, and was only held off of the top of the UK Singles Chart for its 2 weeks at #2 by the debut single of none other than Lady Gaga, who, with the help of Colby O'Donis and Akon was sitting pretty at he top with "Just Dance".

 

There was a little controversy over the commercial release of the music video as Kid Cudi didn't like it and it had apparently not been agreed with him to release it. He went as far as asking for the video to be removed from online social media, but it was too late. The music video in question features Kid Cudi as a British-style cornershop employee, having been left the keys to lock up. It is implied he has abused the trust placed in him and gotten high after being left. It is alleged Kid Cudi was unhappy about the image of him portrayed in the final cut - whether this is the drug reference or the 'sexed up' style dance video we were used to in the 2000s is unknown.

 

"Day 'N' Nite" was a clubbing staple for quite some time. I remember after having a few drinks and this coming on, my head got totally lost in that bassline, much like it did with "Bonkers" and "Riverside". I also used to play this pretty much every week of asking on my dance-focused university radio show at the time!

 

Crookers - at the time a duo consisting of Francesco "Phra" Barbaglia and Andrea "Bot" Fratangelo who then moved on in late 2012 - have released a large amount of tracks, including "No Security" featuring Kelis, and 6 albums: "Crookers Showcase", "Put Your Hands On Me", "Tons Of Friends", "Tons Of Remixes", "Dr Gonzo" and "Sixteen Chapel". Their remix of "Day 'N' Nite" was their only chart success.

 

Kid Cudi is a critically acclaimed musician and has released 6 solo albums: "Man On The Moon: The End Of Day" contained the single "Day 'N' Nite". He also recently released a collaborative album with Kanye West under the name KIDS SEE GHOSTS - his first UK top 10 album. "Day 'N' Nite" remains his biggest global success - a hit in America and across Europe as well as in the UK; he also charted in the UK singles chart with "Make Her Say" (with Kanye West and Common), "Pursuit Of Happiness" (with MGMT and Ratatat) and "Erase Me" (with Kanye West). He was featured on Kevin Rudolf's "Welcome To The World", and then found commercial dance success collaborating with David Guetta on "Memories", and later on Kanye West's "All Of The Lights" which also featured Rihanna and Fergie.

Curious: will you be doing the 2010s after you finish the 2000s?

 

Day N Nite was good but I always preferred the Bimbo Jones remix to this.

 

Infinity is such a tune. Surprised it wasn't a hit in the UK until late October though as this was huge in the end of July in Iceland.

Day N Nite strangely with its production (given that Crookers are not from the UK) does sound a little bit bassline garage to me along with the electro.

 

I thought it was just OK at the time, I wasn't really into any dance or chart music for that matter at this stage sadly. I also thought the video which was on loads on 4Music at the time was rather gimmicky. The video is still gimmicky but the song sounds great now!

I would like to continue this into the 2010s but not before we take a bit of a break!

 

Day N Nite is a bit of a choon, got a juicy bassline to it. Just wish they didn't put in the alarm sounds so loud in the mix though it's quite annoying.

The Prodigy - Omen

 

 

Date: 15 February 2009

Weeks at #1: 5 weeks

Official Chart Run: 8-4-11-12-16-15-19-21-26-31-36-41-40-30-41-51-59-63-58-88-x-96-x (21 weeks top 100)

 

 

One of Britain's biggest electronic bands The Prodigy haven't been seen much in this thread but in 2009 they came back with their biggest single since #1 hit 'Breathe' from 1996. So where had they been all this time?

 

Well firstly it should be known that they are notorious for leaving long gaps between albums. Their third and biggest album 'The Fat Of The Land' was released in 1997, but no material was released for the next five years. Their 2002 comeback single 'Baby's Got A Temper' may have reached #5 in the singles chart, but it only spent two weeks in the Top 40, largely due to both song and video being rather controversial and eventually disowned by the band's lead Liam Howlett and remaining a non-album single.

 

Their fourth album 'Always Outnumbered, Never Outgunned' finally got released in 2004, which included #19 hit 'Girls'. The album went to #1 (their third #1 album) but became their lowest selling album yet, receiving a Gold certification whilst their previous albums all went at least Platinum. They made up for this somewhat with their singles collection which went to #1 in 2005 and was certified Double Platinum. Howlett apparently did not want to do the compilation, wishing to start work on a new album, but it was in their contract.

 

In 2008 they came back to test out some of their new tracks at various festivals, and founded their own record label 'Take Me To The Hospital' (also the title of one of their later singles from the forthcoming album) and revealed the album's title as 'Invaders Must Die' (also the title for one of its singles). Anticipation for a new single was high and in January 'Omen' was premiered on Radio 1, receiving a download release in February and instantly becoming their tenth UK top 10 hit, entering at #8 before climbing to #4 to become their eighth top 5 hit. It got certified Gold and also won the Kerrang! award for best single and was featured in the 2010 film 'Kick-Ass'. It is one of my personal favourites of theirs as it for me really shows them at their best. Dance music with such energy and fire is rarely seen especially at the top end of the chart so this being as big a chart hit as it was is very much impressive.

 

The song saw them return to the style of their 'Fat Of The Land' singles but with a modern twist. Wikipedia describes 'Omen' as a 'new rave' song. The genre, which was popular in the UK in the mid to late 2000s, was basically a fusion between electronic, punk and rock music. Its influence can be heard in the song which prominently features a guitar as well as synths and a beat derived from rave music, which The Prodigy themselves were making in the 90s. James Rushent of the band Does It Offend You, Yeah? (a noted band of the 'new rave' genre) co-produced the track, and also the single 'Invaders Must Die'.

 

The album went to #1 and was certified Double Platinum. It spawned two top 10 singles, the other being 'Warrior's Dance' which reached #9 becoming their final top 10 hit. 'Take Me To The Hospital' reached #38, becoming their final top 40 hit. Its title track reached #49 as a promotional single. When officially released as a single with a re-vamped version, it could only reach #74.

 

A live album titled 'World's On Fire' was released in 2011 and reached #5. In 2012 an EP titled 'The Added Fat' was released which contained new remixes of tracks from 'The Fat Of The Land' to mark its 15th anniversary. Finally in 2015 another album, 'The Day Is My Enemy', was released. It reached #1 and was certified Gold though it spawned no hit singles (the only one even reaching the top 100 was 'Nasty' which peaked at #98). They are supposedly working on new material though who knows when it'll be released, it'll be another few years probably.

Great tune :music:

 

Don't remember it from the time much, which is a pity as it is probably the sort of thing I would have liked back then.

 

I remember I was surprised and disappointed that 'Nasty' flopped so much in the charts. :(

Edited July 10, 20186 yr by *_*

I didn't discover it myself until the end of the year when I was properly getting into dance music with the purchase of Ministry of Sound's The Annual 2010 which if I recall correctly, the song was a part of.

 

I was in Australia in Feb 2009 anyway, and the song was not a hit there. Quite a few songs from this era had passed me by at the time of their release because of this.

Damn that era was absolutely sublime for The Prodigy. I was lucky enough to get to go to their one off Warriors Dance Festival in 2010 where they were supported by Pendulum, Chase & Status, Does It Offend You, Yeah? and Enter Shikari - I doubt I'll ever get to such an epic gig again. Honestly it was out of this world.

 

Their 2015 era didn't grab me much, I still can't work out exactly why. Perhaps just different times of life. I was at uni back in 2010 and partying and raving and that were what I was doing on a very regular basis :lol:

 

Also worth mentioning the excellent Pendulum remix of "Voodoo People" which was taken from that Greatest Hits you mentioned - this was always such a moment when it came on in a club :wub:

This was a great comeback from them, enjoyed this. Still do.

I loved “Omen”, I remember Chris Moyles mocking the prominent glockenspiel sample by playing the correct buzzer from 15-to-1 over the top, but it worked well for me at least. The whole era was really good too as I really enjoyed “Warrior's Dance”. I also really enjoyed “Happy Up Here” by Röyksopp around this time but that won't make this list as it peaked officially at #44. : (

yes omen is a great track and a return to form for a band that had kinda lost it with Baby's got a temper/Girls

September - Can't Get Over

 

 

Date: 15 March 2009

Weeks at #1: 1 week

Official Chart Run: 14-16-25-36-60-94 (5 weeks top 75 +1 top 100)

 

 

Swedish dance-pop singer Petra Marklund - also known as September - grabs her 2nd dance number 1 hit with "Can't Get Over". Taken from albums "Dancing Shoes" and "September", the track was released in Sweden in June 2007 but it isn't for another 21 months that it was released in the UK. The UK release included a special UK edit, plus remixes from Wideboys, Figoboy, Dave Ramone, and Warren Clarke.

 

It was a short-lived chart visit for "Can't Get Over" - just 6 in the top 100, with 5 of those top 75 and 4 top 40, so it failed to live up to the level of success of 2008's "Cry For You". It made number 14 in the UK - 9 places lower than its Swedish chart peak of #5. This was September's third and last visit to the UK top 100. "Satellites" - a number 96 hit in the UK - is otherwise her biggest global hit, peaking at number 4 in Sweden, and number 1 in Poland and Spain, and top 10 in several other countries. Another track "Mikrofonkåt" - or "Microphone Horny" in English (yes, that's really the translation!) - was a number 1 hit for her in her native Sweden. This was actually a cover of a 1999 track by Swedish rappers Thomas Rusiak and Petter. September also performed an English version called "Me And My Microphone". This - together with "Rescuscitate Me", another track September promoted in the UK, were not hits over here.

 

Back to "Can't Get Over" - this was a dance-pop track in a similar vein to "Cry For You". Two videos were released. Its week at number 1 on the dance chart came as "Omen" fell to 16 in the same week, regaining the dance number 1 spot the week after as September's track began to fall. Just 3 dance/electronic tracks were in the top 40 in this particular week, with "Beggin'" sitting just outside at number 41, Guru Josh Project rebounding to number 47, and MGMT's "Kids" at number 51.

 

I quite liked "Can't Get Over", though not as much as "Satellites" or "Cry For You" - or later "Resuscitate Me".

September was rather lucky to get a second Dance #1, the song is rather sub-par and not really worth remembering. I quite liked 'Mikronfonkåt' but that of course wasn't going to do anything in the UK with it being in Swedish (and her being long forgotten by then anyway), and the English version was poor in comparison.

Steve Angello & Laidback Luke (feat. Robin S) - Show Me Love

 

 

Date: 15 February 2009

Weeks at #1: 2 weeks

Official Chart Run: 12-11-20-27-33-38-43-53-64-73-80-92-x-49-52-83-x (15 weeks top 100)

 

 

This song has quite a bit of history to it as you may well know so here's a (not so?) brief recap. It started out as a solo track for American singer Robin Stone in

(mixed by Montego) where it was a commercial flop, until it was given to Swedish producer StoneBridge to remix in

which gave us the version most people are familiar with, becoming a UK #6 hit in 1993. He apparently made the remix in only four hours and had no clue how big the song would turn out to be.

 

For that release and since then Robin Stone changed her stage name to Robin S. It was re-released in the UK again in

having had a remix from The Lisa Marie Experience which took the song to #9, and yet again in

being remixed by Tonka, though the UK seemingly had enough of the song by then as this version only reached #61.

 

It is also worth noting the

version, which sounds rather similar to the Steve Angello version (most likely someone cashing in on the Hardwell bootleg (we'll get to that later) before Angello had the chance), which was not released in the UK but reached #1 in the Netherlands. Not to mention all the countless other covers, remixes and samples the song has got, including on Jason Derulo's future UK #1 hit 'Don't Wanna Go Home' and a Sam Feldt cover that we may well visit in a 2010s version of this thread. All of this is rather unsurprising considering it is one of the biggest and most influential dance songs of all time, even bringing house music to a mainstream audience in the US (the StoneBridge remix reached #5 on their chart).

 

Other than all the 'Show Me Love' versions, Robin S also made the UK top 40 with 'Luv 4 Luv' (#11, 1993) which is noted for being very similar to 'Show Me Love', and 'It Must Be Love' (#37, 1997). Her 1993 debut album also titled 'Show Me Love' reached #34. A second and final album 'From Now On' was released in 1997 which was a total flop. Following this version of 'Show Me Love' Robin S was never seen in the chart again.

 

Swedish producer Steve Angello and Dutch producer Laidback Luke got together in 2007 to make a track called '

'. The track itself wasn't at all made to be a commercial record but it inspired up and coming DJ Hardwell to make a bootleg mashup of the song with the Mobin Master (feat. Karina Chavez)

of 'Show Me Love' (original bootleg linked here).

 

The bootleg was a club success and brought Angello & Luke to make an official version of it, complete with Robin S re-recording her vocal. It was eventually released under Angello & Luke's names with Robin S as the featured artist rather than simply being another remix. Both DJs had been going for years underground but it wasn't until now when their careers started to really get going, no doubt helped by the success of this song. It was most successful in the UK peaking at #11 and also made a minor impact on a few other European charts.

 

It was the first top 40 hit for both DJs, though Angello had previously made it to #13 with 'Tell My Why' as part of Supermode (the collaboration of him and Axwell) in 2006. As you probably know, both members of Supermode joined with Sebastian Ingrosso to form the supergroup Swedish House Mafia, who had six UK hits between 2010 and 2012 before splitting. They have recently got back together to play a few festivals, but there is currently no plans for them to release any new singles.

 

Angello himself released two albums in 2016 and 2018, neither of which included 'Show Me Love'. Indeed he had no hits as a solo artist following this. Laidback Luke had just one more top 40 hit, the #37 peaking 'Natural Disaster' in 2011, released in collaboration with English singer/rapper Example, though he continued to be a successful DJ well into the 2010s, eventually releasing an album in 2015 (again, not featuring 'Show Me Love'). Hardwell was also asked to produce an

for the track and his career subsequently really took off, eventually being voted as the #1 DJ in the world in 2013 and 2014. He had one UK hit single, the #18 peaking 'Dare You' in 2014. An album was released in 2015.

 

Personally this is my favourite version of 'Show Me Love' and there are a lot to choose from, Robin S' re-recorded vocals are just as strong as in the original versions, and the banging house beat really brings it nicely up to date whilst keeping all the elements that made the song so good in the first place. It also helps that I was very familiar with this version before even hearing the StoneBridge remix, but it still holds up very well to this day. Absolutely brilliant.