WEBVTT 00:00:10.869 --> 00:00:13.589 Welcome to My Weekly Mixtape, a podcast that 00:00:13.589 --> 00:00:16.570 takes the classic mixtape approach to building 00:00:16.570 --> 00:00:19.329 a modern playlist. I'm your host, Brian Colburn. 00:00:19.449 --> 00:00:22.070 Joining me for tonight's collaboration is longtime 00:00:22.070 --> 00:00:25.989 friend Doug Miller, DJ for Elite Sound Entertainment, 00:00:26.329 --> 00:00:29.410 one of New Jersey's premier DJ and entertainment 00:00:29.410 --> 00:00:32.289 companies. Doug, welcome back, man. Hey, Brian. 00:00:32.350 --> 00:00:33.990 It's good to be here, brother, as always. Can't 00:00:33.990 --> 00:00:35.549 wait to get this list going, man. I'm excited. 00:00:35.969 --> 00:00:38.390 Same here. And the last time you were here... 00:00:38.560 --> 00:00:41.740 Way back on episode 22, it's been a long time, 00:00:41.840 --> 00:00:45.179 we talked about the year in hip hop for 1993. 00:00:45.939 --> 00:00:48.579 But tonight, we're going to move away from rap 00:00:48.579 --> 00:00:53.619 and hip hop and focus on 90s club and dance anthems. 00:00:53.920 --> 00:00:57.439 With all your years of DJing, everything from 00:00:57.439 --> 00:01:00.840 clubs to house parties to weddings, what were 00:01:00.840 --> 00:01:03.020 you looking for in the songs you brought to the 00:01:03.020 --> 00:01:06.519 mix tonight? Well, it was a feeling that I found 00:01:06.519 --> 00:01:08.799 when I was younger. That's basically what I was 00:01:08.799 --> 00:01:11.540 looking for. My uncle used to own nightclubs. 00:01:11.939 --> 00:01:15.280 And one day, this young guy walks in and everybody 00:01:15.280 --> 00:01:17.280 goes crazy. It was one of the first openings, 00:01:17.359 --> 00:01:18.879 you know, they invite the family and stuff like 00:01:18.879 --> 00:01:21.280 that for like a soft opening. And everybody went 00:01:21.280 --> 00:01:25.159 nuts. And I was like, who is that? Oh, that's 00:01:25.159 --> 00:01:28.170 Subway. That's the DJ. I was like, what's the 00:01:28.170 --> 00:01:30.170 DJ? I didn't know what this was. This wasn't 00:01:30.170 --> 00:01:32.849 a career day. They had plumber environment. So 00:01:32.849 --> 00:01:36.549 this guy's like, you show up to a party, all 00:01:36.549 --> 00:01:39.969 the guys like you, all the girls like you, and 00:01:39.969 --> 00:01:43.450 then they give you money? That's a thing? Okay. 00:01:43.950 --> 00:01:46.349 So I started following around, carrying this 00:01:46.349 --> 00:01:48.730 crate, so on and so forth. But I remember that 00:01:48.730 --> 00:01:51.709 look, that look on people's face when a certain 00:01:51.709 --> 00:01:55.750 song hits and they just go, oh, that's my song. 00:01:56.920 --> 00:01:59.239 And I would see it for my parents' generation, 00:01:59.500 --> 00:02:01.299 I think, with sound work and stuff. So I wanted 00:02:01.299 --> 00:02:05.019 to bring that to people my age. And when I did 00:02:05.019 --> 00:02:06.319 it, that's the first thing I would look for. 00:02:06.359 --> 00:02:09.240 What songs make me go like that? So when I'm 00:02:09.240 --> 00:02:11.620 either behind the table and I want to play something, 00:02:11.740 --> 00:02:13.800 then it's going to get that reaction. Or when 00:02:13.800 --> 00:02:15.419 I'm out there in the crowd and I hear a song 00:02:15.419 --> 00:02:17.520 and it goes, ah, it's perfectly timed. That's 00:02:17.520 --> 00:02:19.680 right where that song should be played. And somebody 00:02:19.680 --> 00:02:21.680 plays it. I'm looking for songs that did that 00:02:21.680 --> 00:02:23.740 to people, almost no matter where you play them 00:02:23.740 --> 00:02:26.909 in the night. I am sure this is going to be one 00:02:26.909 --> 00:02:29.590 of those instances where I was definitely somebody 00:02:29.590 --> 00:02:33.030 that went to a lot of clubs in the 90s, but I 00:02:33.030 --> 00:02:36.150 was also going to a lot of rock clubs and concerts 00:02:36.150 --> 00:02:38.990 at the time. So it was a lot less than, let's 00:02:38.990 --> 00:02:40.810 say, the people that were going clubbing every 00:02:40.810 --> 00:02:44.349 weekend. So I consider myself to be more of a 00:02:44.349 --> 00:02:47.650 novice in this category and more of the mainstream 00:02:47.650 --> 00:02:50.409 guy. And I'm actually looking for you tonight. 00:02:51.050 --> 00:02:53.909 to pull out some deeper bangers that could really 00:02:53.909 --> 00:02:57.150 get people's eyebrows raised. Yeah, I got a few. 00:02:57.250 --> 00:02:59.370 I got a few in there. I took it a little light. 00:02:59.430 --> 00:03:01.590 There's a lot of stuff. I mean, it's such a big 00:03:01.590 --> 00:03:05.090 scene. You can go mainstream club as far as, 00:03:05.169 --> 00:03:06.770 you know, stuff you're going to find in Jersey, 00:03:06.830 --> 00:03:08.990 things like that. Songs that will probably also 00:03:08.990 --> 00:03:12.050 cross over and make radio hits. And then there's 00:03:12.050 --> 00:03:14.409 a whole other scene there. I mean, going to places 00:03:14.409 --> 00:03:17.210 like the limelight, the tunnel, the sound factory, 00:03:17.389 --> 00:03:19.729 things like that. There's songs that are just, 00:03:19.810 --> 00:03:23.110 they're so deep cuts and are so great. But, you 00:03:23.110 --> 00:03:24.669 know, obviously a lot of the public wouldn't 00:03:24.669 --> 00:03:26.310 know it unless you were in that kind of light. 00:03:26.550 --> 00:03:31.469 It's a lot harder to distinguish DJs from singers 00:03:31.469 --> 00:03:33.930 and bands, you know, because there's certain 00:03:33.930 --> 00:03:37.169 styles of songs that people make that are kind 00:03:37.169 --> 00:03:40.689 of their niche in that club scene. And, you know, 00:03:40.689 --> 00:03:42.590 at a better end, you know, you hear somebody's 00:03:42.590 --> 00:03:44.469 voice and you go, oh, that's Soundgarden. Oh, 00:03:44.509 --> 00:03:47.509 that's Metallica. And it's very easy to kind 00:03:47.509 --> 00:03:49.789 of distinguish them that way. Whereas with this 00:03:49.789 --> 00:03:52.009 music, you kind of have to be into that scene 00:03:52.009 --> 00:03:54.110 to get the difference in a lot of them. Well, 00:03:54.150 --> 00:03:56.469 let's get down to business. Tonight, as I mentioned 00:03:56.469 --> 00:03:59.009 at the top of the show, Doug and I will be curating 00:03:59.009 --> 00:04:02.569 a 90s club and dance anthems mixtape. And we're 00:04:02.569 --> 00:04:04.270 going to use the old cassette deck approach. 00:04:04.919 --> 00:04:07.400 Doug, as my special guest, will begin side A 00:04:07.400 --> 00:04:10.099 with his first song choice, and then I'll add 00:04:10.099 --> 00:04:12.960 a track that I feel best follows up that choice. 00:04:13.180 --> 00:04:15.680 We'll then flip -flop choosing songs until we've 00:04:15.680 --> 00:04:19.100 mapped out 10 songs for side A. We'll then give 00:04:19.100 --> 00:04:21.500 our mixtape a proverbial flip, and we'll map 00:04:21.500 --> 00:04:23.980 out side B, only this time I'll kick things off 00:04:23.980 --> 00:04:27.399 with Doug choosing second. Our overall goal for 00:04:27.399 --> 00:04:30.699 this episode is to craft the best 90s club and 00:04:30.699 --> 00:04:34.089 dance anthems mixtape possible. through only 00:04:34.089 --> 00:04:36.750 20 songs. At the end of the show, you can take 00:04:36.750 --> 00:04:39.410 our conversation to the next level by visiting 00:04:39.410 --> 00:04:42.629 the episode page at myweeklymixtape .com to give 00:04:42.629 --> 00:04:45.930 our final mixtape a listen via the embedded playlist. 00:04:46.370 --> 00:04:48.230 And if you like what you're hearing on the show, 00:04:48.269 --> 00:04:50.149 you can help me out by either telling a friend, 00:04:50.329 --> 00:04:52.689 leaving the show a five -star review wherever 00:04:52.689 --> 00:04:56.269 you're tuning in, or becoming a Patreon mixtaper 00:04:56.269 --> 00:04:59.819 at patreon .com forward slash my weekly mixtape. 00:04:59.920 --> 00:05:02.339 There you can enjoy ad -free episodes of the 00:05:02.339 --> 00:05:05.500 show, become a future guest, and so much more. 00:05:05.759 --> 00:05:08.319 And a few of the Patreon mixtapers chimed in 00:05:08.319 --> 00:05:11.060 with songs that they would use to kick off a 00:05:11.060 --> 00:05:14.120 90s club and dance anthems mixtape, and it's 00:05:14.120 --> 00:05:17.279 time to let their voices be heard. Well, their 00:05:17.279 --> 00:05:21.199 thoughts, my voice, I digress. Philip Bergman 00:05:21.199 --> 00:05:24.680 chimed in saying that this topic is cool conversation 00:05:24.680 --> 00:05:28.160 fodder because in the decade that followed, Different 00:05:28.160 --> 00:05:30.879 remixes really affected how much you liked the 00:05:30.879 --> 00:05:33.560 song, and you even saw that a bit in the late 00:05:33.560 --> 00:05:36.500 90s. But with that said, he would kick things 00:05:36.500 --> 00:05:39.959 off with Amber's This Is Your Night or London 00:05:39.959 --> 00:05:43.279 Beat's I've Been Thinking About You. Chad LaMassa 00:05:43.279 --> 00:05:45.620 chimed in saying you can go in multiple directions 00:05:45.620 --> 00:05:49.279 with this topic, being techno or just radio hits 00:05:49.279 --> 00:05:51.920 that possibly were played in clubs. And for the 00:05:51.920 --> 00:05:54.399 techno side of things, he's going with Alpha 00:05:54.399 --> 00:05:57.139 Team's Speed Racer remix, the dirty version. 00:05:57.819 --> 00:05:59.920 And for the club side of things, he's going with 00:05:59.920 --> 00:06:02.939 C &C Music Factory's Gonna Make You Sweat, Everybody 00:06:02.939 --> 00:06:06.279 Dance Now. And Tom Hutchinson chimed in saying 00:06:06.279 --> 00:06:09.300 Hathaway's What Is Love has to make this list 00:06:09.300 --> 00:06:12.699 and mentions how the Night at the Roxbury skit 00:06:12.699 --> 00:06:16.180 made that song infamous. He also chimed in with 00:06:16.180 --> 00:06:20.019 Fatboy Slim's F 'ing in Heaven. Once again, if 00:06:20.019 --> 00:06:22.060 you'd like to join the Patreon Mixtaper family 00:06:22.060 --> 00:06:25.180 and chime in on future episodes, please visit 00:06:25.180 --> 00:06:28.720 patreon .com forward slash my weekly mixtape. 00:06:29.399 --> 00:06:31.740 Now with that said, Doug, I'm officially going 00:06:31.740 --> 00:06:34.459 to press the record button on our mixtape and 00:06:34.459 --> 00:06:37.060 turn the mic over to you. Why don't you tell 00:06:37.060 --> 00:06:40.180 us why you're kicking off your 90s club and dance 00:06:40.180 --> 00:06:43.899 anthems playlist with the Macarena? Well, I mean, 00:06:43.939 --> 00:06:45.480 what other way are you going to get a party started? 00:06:46.920 --> 00:06:49.279 It's universal. Who doesn't love that dance? 00:06:49.459 --> 00:06:52.740 If I'm going to start a mixtape for 90s dance 00:06:52.740 --> 00:06:56.379 anthems, I got to go with this song first. This 00:06:56.379 --> 00:06:59.980 song is by a New Jersey group. Came out in 92. 00:07:00.519 --> 00:07:03.240 I remember going to boys club dances. And the 00:07:03.240 --> 00:07:05.379 minute you heard this, you knew the party was 00:07:05.379 --> 00:07:10.439 started. This song is called Follow Me by Elias. 00:07:11.600 --> 00:07:14.699 1992's Strictly Rhythm is the label. Dance anthem. 00:07:15.279 --> 00:07:21.100 This song was a moving beat. It had a melodic 00:07:21.100 --> 00:07:24.730 sound. Almost like it was. composed as opposed 00:07:24.730 --> 00:07:28.350 to when you would at that time think of a dance 00:07:28.350 --> 00:07:31.189 song being made, I guess, with the computer, 00:07:31.290 --> 00:07:34.149 so to speak, you know, as opposed to instrumentally. 00:07:34.149 --> 00:07:37.189 But it just was a beautiful, beautiful sound. 00:07:37.290 --> 00:07:40.269 The beat was moving. It had words and lyrics 00:07:40.269 --> 00:07:43.500 which were actually, you know. Some more peaceful 00:07:43.500 --> 00:07:46.259 stuff where like a unifying kind of song, everybody 00:07:46.259 --> 00:07:48.639 could buy to it. And it's just a great party 00:07:48.639 --> 00:07:51.259 starter. Everybody knows it. The way he sings 00:07:51.259 --> 00:07:54.620 that melody is just infectious. And that's definitely 00:07:54.620 --> 00:07:57.199 my starter for number one. Starting with some 00:07:57.199 --> 00:08:00.660 deep house. I like where you're going here. Not 00:08:00.660 --> 00:08:03.980 messing around. This is an underrated song to 00:08:03.980 --> 00:08:06.339 kick things off with. It only reached number 00:08:06.339 --> 00:08:10.259 eight on Billboard's club songs chart. It never 00:08:10.259 --> 00:08:13.759 hit a top 100. So this is definitely one that 00:08:13.759 --> 00:08:16.240 got a lot of love around the New Jersey, New 00:08:16.240 --> 00:08:19.019 York club scene. But maybe the rest of the country, 00:08:19.100 --> 00:08:23.439 this might be a brand new, quote unquote, 90s 00:08:23.439 --> 00:08:26.439 dance track. I think it's a good way to spread 00:08:26.439 --> 00:08:29.160 kind of music that doesn't necessarily chart 00:08:29.160 --> 00:08:32.259 commercially well, but charts with the people. 00:08:32.440 --> 00:08:34.139 I think of it like the movie Bulldog Saints. 00:08:34.399 --> 00:08:37.409 It came out. and went overlooked by everybody. 00:08:37.669 --> 00:08:39.610 And then 10 years later, everybody's loving it, 00:08:39.629 --> 00:08:41.990 becomes a cult classic. It's because it's panned 00:08:41.990 --> 00:08:44.350 critically, but then when the people get their 00:08:44.350 --> 00:08:45.769 hands on it, they're like, that's exactly what 00:08:45.769 --> 00:08:48.029 we were looking for. Well, I'm going to follow 00:08:48.029 --> 00:08:50.649 it up, and I'm going to stay kind of in this 00:08:50.649 --> 00:08:52.330 house vibe, but I'm going to introduce a little 00:08:52.330 --> 00:08:54.350 bit more of the club element, a little bit more 00:08:54.350 --> 00:08:57.409 of the European side of things. And this is a 00:08:57.409 --> 00:09:00.610 song that came out, I want to say it was the 00:09:00.610 --> 00:09:03.590 same year as Follow Me. This was 1992. Yeah, 00:09:03.649 --> 00:09:06.299 this was the same year. And I'm going to go off 00:09:06.299 --> 00:09:08.220 the Madman's Return, and I'm going to go with 00:09:08.220 --> 00:09:12.379 Snap's Rhythm is a Dancer. This brings that European, 00:09:12.379 --> 00:09:15.539 almost Eurodance vibe to it. This was a massive 00:09:15.539 --> 00:09:18.340 hit. It reached number five on the U .S. Billboard 00:09:18.340 --> 00:09:22.720 Hot 100, and VH1 ranked it number 36 on their 00:09:22.720 --> 00:09:27.220 100 Greatest Dance Songs. Now, Snap, I could 00:09:27.220 --> 00:09:29.799 have easily went with The Power, but the more 00:09:29.799 --> 00:09:33.000 I thought about coming out of Follow Me, The 00:09:33.000 --> 00:09:35.480 power would have given you that stadium anthem 00:09:35.480 --> 00:09:39.120 vibe, whereas Rhythm is a Dancer brings you much 00:09:39.120 --> 00:09:42.500 more into that club dance vibe. Even though Rhythm 00:09:42.500 --> 00:09:45.879 is a Dancer is used in stadiums, it doesn't have 00:09:45.879 --> 00:09:49.240 the same impact and isn't as universally connected 00:09:49.240 --> 00:09:54.379 to sports as the power is. So I think following 00:09:54.379 --> 00:09:57.740 the Follow Me vibe, Snap's Rhythm is a Dancer 00:09:57.740 --> 00:10:00.019 is going to bring you there. I think it's a great 00:10:00.019 --> 00:10:04.059 pick. Snaps the power is a cool song, but it's 00:10:04.059 --> 00:10:06.840 definitely in its own little box like, you know 00:10:06.840 --> 00:10:10.539 It's very forceful with the vocals. It's uh kind 00:10:10.539 --> 00:10:12.799 of reminds me like that movie King in New York 00:10:12.799 --> 00:10:15.200 You know that kind of that kind of part of the 00:10:15.200 --> 00:10:18.039 90s right there where people are mixing that 00:10:18.039 --> 00:10:21.139 Kind of version of hip -hop R &B a little bit 00:10:21.139 --> 00:10:23.279 with club and they kind of did it just the song 00:10:23.279 --> 00:10:25.820 is aptly named It's a very powerful straightforward 00:10:25.820 --> 00:10:29.710 song rhythm is a dancer on the other hand The 00:10:29.710 --> 00:10:32.389 vocals on that are amazing. She's just absolutely 00:10:32.389 --> 00:10:35.350 blowing it down. You can tell it's like a powerhouse 00:10:35.350 --> 00:10:38.990 voice. And I think that's part of the mystique 00:10:38.990 --> 00:10:40.909 of the song. And there's some of my lists that 00:10:40.909 --> 00:10:43.649 are just like that, where you have this upbeat 00:10:43.649 --> 00:10:46.649 kind of vibe, you know, almost like you said, 00:10:46.750 --> 00:10:49.009 the Euro sound. And then somebody just comes 00:10:49.009 --> 00:10:52.509 in with a beautiful voice and she's just unloading 00:10:52.509 --> 00:10:55.070 on the song. I think that that's a huge hit. 00:10:55.110 --> 00:10:57.450 And it's a great, great number two. Huge song 00:10:57.450 --> 00:10:59.610 at that time. And another thing I love about 00:10:59.610 --> 00:11:02.549 rhythm as a dancer, sonically, if you listen 00:11:02.549 --> 00:11:05.610 to that song with a good set of headphones, you 00:11:05.610 --> 00:11:08.169 could be by yourself and catch a vibe with it 00:11:08.169 --> 00:11:11.470 because it's really telling you a story musically. 00:11:11.570 --> 00:11:13.730 With all the instruments, there's such a great 00:11:13.730 --> 00:11:17.690 separation. And I know a lot of people like to 00:11:17.690 --> 00:11:20.750 downplay club and dance music because of the 00:11:20.750 --> 00:11:23.669 quote -unquote laptops aren't instruments argument. 00:11:24.049 --> 00:11:27.370 But there's a lot going on musically and sonically. 00:11:27.789 --> 00:11:30.029 in this song and I think a lot of the ones I 00:11:30.029 --> 00:11:32.409 chose tonight kind of follow that vibe where 00:11:32.409 --> 00:11:35.549 there's a lot of music happening it's not just 00:11:35.549 --> 00:11:39.269 a single beat doing the four on the floor over 00:11:39.269 --> 00:11:41.710 and over again the whole time with not much happening 00:11:41.710 --> 00:11:44.690 like that kind of deep trance house music that 00:11:44.690 --> 00:11:48.409 I think is kind of stigmatized in the club scene 00:11:48.409 --> 00:11:51.049 very much so very much so I think it's got huge 00:11:51.049 --> 00:11:53.789 crossover appeal which is what brings songs like 00:11:53.789 --> 00:11:57.590 this to light and also In some cases, transitions 00:11:57.590 --> 00:12:00.029 down into, like you said, being used in stadiums, 00:12:00.029 --> 00:12:03.629 being used for sports. People now use their songs 00:12:03.629 --> 00:12:05.909 on commercials and stuff that you would not have 00:12:05.909 --> 00:12:07.750 seen in the 90s. They would never have a house 00:12:07.750 --> 00:12:26.360 song out of a TV commercial in the 90s. quote 00:12:26.360 --> 00:12:29.720 -unquote traditional song to do that. All right, 00:12:29.720 --> 00:12:32.179 well, what are you following up Rhythm is a Dancer 00:12:32.179 --> 00:12:35.759 with? Okay, well, if we're going to do songs 00:12:35.759 --> 00:12:38.940 with female vocalists who create a vibe, I'm 00:12:38.940 --> 00:12:41.759 going to jump back to one of my favorite female 00:12:41.759 --> 00:12:44.519 vocalists from the 90s who creates a vibe. We're 00:12:44.519 --> 00:12:47.440 going to go with Miss Crystal Waters, 100 % Pure 00:12:47.440 --> 00:12:51.340 Love. Song came out in 94, it went gold, and 00:12:51.340 --> 00:12:54.059 actually the production team hated the first 00:12:54.059 --> 00:12:57.519 verse. So the hook came to them and it was called 00:12:57.519 --> 00:13:00.500 the beat goes boom was what it was based around 00:13:00.500 --> 00:13:03.860 basically. And they told her, we don't like anything 00:13:03.860 --> 00:13:06.500 about that. We like the song and the verses, 00:13:06.620 --> 00:13:09.039 but we don't like the hook. It just doesn't vibe. 00:13:09.259 --> 00:13:12.259 So she went back and thought about why she was 00:13:12.259 --> 00:13:14.700 making the record. And at the time she said it 00:13:14.700 --> 00:13:18.240 was almost like an answer to the gangster rap 00:13:18.240 --> 00:13:21.899 move. There was a lot of. animosity and angst 00:13:21.899 --> 00:13:23.899 in 90s music, whether it was rock, hip hop, no 00:13:23.899 --> 00:13:27.440 matter what it was. And she wanted to unharsh 00:13:27.440 --> 00:13:30.200 the vibe, I guess is the best way to put it, 00:13:30.220 --> 00:13:32.299 and send out a little bit of positivity into 00:13:32.299 --> 00:13:34.899 the world. So she started thinking about what 00:13:34.899 --> 00:13:37.360 she was writing the song for, the reasons why, 00:13:37.399 --> 00:13:39.299 and that's where she stumbled into, from the 00:13:39.299 --> 00:13:41.200 back to the middle and around again, I'm going 00:13:41.200 --> 00:13:45.700 to be here till the end. 100 % pure love. Massive, 00:13:45.700 --> 00:13:49.659 massive hit here. This one, hit number 11. on 00:13:49.659 --> 00:13:52.740 the Billboard US Hot 100, and obviously topped 00:13:52.740 --> 00:13:56.820 the dance club charts. This was a massive song, 00:13:56.899 --> 00:14:00.440 a massive video, and had so much of a crossover 00:14:00.440 --> 00:14:03.100 effect. You would hear it on, at least in New 00:14:03.100 --> 00:14:05.679 York at the time, WKTU was kind of the club and 00:14:05.679 --> 00:14:09.320 dance station. But you also heard that on Z100, 00:14:09.500 --> 00:14:14.320 which was your top 40 station, as well as 95 00:14:14.320 --> 00:14:17.620 .5, which was a little bit more of your... I 00:14:17.620 --> 00:14:19.659 don't want to say adult contemporary, but it 00:14:19.659 --> 00:14:21.039 was a mix of modern. It was your parent's radio 00:14:21.039 --> 00:14:23.019 station. Yeah, it was my, it was our parent's 00:14:23.019 --> 00:14:26.860 radio station back in the 90s. And it made waves 00:14:26.860 --> 00:14:29.919 on all three stations at the same time. That's 00:14:29.919 --> 00:14:31.580 how you know you've got something that's got 00:14:31.580 --> 00:14:35.080 a crossover appeal. There's songs that just do 00:14:35.080 --> 00:14:38.019 that where almost for the most part, unless obviously 00:14:38.019 --> 00:14:40.419 if a radio station is dedicated strictly to a 00:14:40.419 --> 00:14:42.840 sound, like I'm a country station, you know, 00:14:42.840 --> 00:14:45.200 you're not going to play that on a country. But 00:14:45.200 --> 00:14:48.179 there's songs that just. Hey, this is too good. 00:14:48.220 --> 00:14:51.139 We can't not play this soul, you know, because 00:14:51.139 --> 00:14:54.019 people are listening to whoever is playing this 00:14:54.019 --> 00:14:57.620 soul. And this is one of them. Well, definitely. 00:14:57.799 --> 00:15:00.580 I know exactly where I'm going right out of crystal 00:15:00.580 --> 00:15:02.340 waters. We're going to keep that female vibe 00:15:02.340 --> 00:15:05.779 going. And I'm going to, for the second time 00:15:05.779 --> 00:15:09.700 tonight, stick with 1992. Apparently 1992 was 00:15:09.700 --> 00:15:12.279 the year that we were going to want to say it 00:15:12.279 --> 00:15:15.110 was Bam Bams and Lynn Hurst. The Music Factory, 00:15:15.210 --> 00:15:18.029 baby. Music Factory as well. These were songs 00:15:18.029 --> 00:15:20.970 that were playing all the time. And this one, 00:15:20.970 --> 00:15:24.370 I vividly remember being played in the same evening 00:15:24.370 --> 00:15:27.830 as 100 % Pure Love. And it's kind of along the 00:15:27.830 --> 00:15:31.590 same vibe. It's the title track from her 1992 00:15:31.590 --> 00:15:35.269 album, CeCe Penniston's Finally. Reached number 00:15:35.269 --> 00:15:38.629 five on the Billboard US Hot 100. And just like 00:15:38.629 --> 00:15:42.309 100 % Pure Love, topped the US dance club songs. 00:15:42.750 --> 00:15:46.970 and dance single sales charts. This one was everywhere 00:15:46.970 --> 00:15:52.070 for such a long part of that year. VH1 ranked 00:15:52.070 --> 00:15:56.429 it number 29 of their 100 greatest dance songs, 00:15:56.629 --> 00:15:59.009 and Billboard included it, this is interesting, 00:15:59.190 --> 00:16:03.970 on their best pop songs of all time, completely 00:16:03.970 --> 00:16:07.649 bypassing the club and dance scene and lumping 00:16:07.649 --> 00:16:09.990 it in with just pure pop music, which I think 00:16:09.990 --> 00:16:13.529 is an interesting... take on this one her voice 00:16:13.529 --> 00:16:16.649 is ridiculous the high notes she hits in this 00:16:16.649 --> 00:16:20.409 chorus are insane there's a gravel to it but 00:16:20.409 --> 00:16:23.870 it's still smooth to fit on the dance track but 00:16:23.870 --> 00:16:28.269 she almost has this dare i use whitney -esque 00:16:28.269 --> 00:16:32.029 appearance to her voice where she's hitting runs 00:16:32.029 --> 00:16:34.750 in the chorus that remind me of whitney houston 00:16:34.750 --> 00:16:37.629 with a little bit more of that club techno beat 00:16:37.629 --> 00:16:41.720 underneath so I think 100 % pure love and finally 00:16:41.720 --> 00:16:45.419 back to back is kind of a home run here. I think 00:16:45.419 --> 00:16:48.360 so too. To me, it's an injustice that's ranked 00:16:48.360 --> 00:16:51.039 that low even on some of those lists. I think 00:16:51.039 --> 00:16:53.519 that a lot of the lists are done based off commercial 00:16:53.519 --> 00:16:56.360 success as opposed to the quality of the song. 00:16:56.580 --> 00:17:00.120 I would much prefer, you know, not to be a homer, 00:17:00.179 --> 00:17:03.659 but a list from people like us or a podcast, 00:17:03.779 --> 00:17:05.740 like some of the ones that we're both friends 00:17:05.740 --> 00:17:08.380 with that do music from people that actually, 00:17:08.759 --> 00:17:10.900 are doing it because of the quality of the song 00:17:10.900 --> 00:17:13.980 as opposed to how well it did commercially or 00:17:13.980 --> 00:17:17.160 how recognizable it is, so to speak. I think 00:17:17.160 --> 00:17:19.420 that it's a phenomenal song. And I think it's 00:17:19.420 --> 00:17:22.720 a great lane for wonderful singers like her because 00:17:22.720 --> 00:17:27.900 when you do more of the pop or R &B, people are 00:17:27.900 --> 00:17:30.240 going to judge everything. They're going to look 00:17:30.240 --> 00:17:32.759 at her and say, does she look like Beyonce? Or 00:17:32.759 --> 00:17:35.240 does she look like Whitney? Or whoever it may 00:17:35.240 --> 00:17:38.319 be. Do you have any appeal that way? Do you have... 00:17:38.430 --> 00:17:41.569 the sound that i want for your r &b song and 00:17:41.569 --> 00:17:44.250 how catchy is it but how emotionally whereas 00:17:44.250 --> 00:17:47.450 songs like this just come out and knock it down 00:17:47.450 --> 00:17:51.029 sing your song and that beat grabs you and she's 00:17:51.029 --> 00:17:53.390 just absolutely crushing it the way when you 00:17:53.390 --> 00:17:56.470 hear a really good hip -hop beat and then the 00:17:56.470 --> 00:17:58.609 guy comes on the minute he starts rhyming you 00:17:58.609 --> 00:18:02.009 go yes or you go no right in your head just by 00:18:02.009 --> 00:18:04.490 either he's got that or no that that doesn't 00:18:04.490 --> 00:18:07.109 match and she just comes out right from the start 00:18:07.109 --> 00:18:10.200 of that song and blows you away and all you're 00:18:10.200 --> 00:18:11.759 worried about is how that so it's almost like 00:18:11.759 --> 00:18:14.000 you listen to it with your eyes closed you feel 00:18:14.000 --> 00:18:16.700 it and you're not worried about what the singer 00:18:16.700 --> 00:18:19.599 looks like what label they're on what's the name 00:18:19.599 --> 00:18:21.619 of the band you're just vibing with that song 00:18:21.619 --> 00:18:24.200 and she absolutely takes you on a journey it's 00:18:24.200 --> 00:18:27.599 one of my top 590 songs of all time nice nice 00:18:27.599 --> 00:18:30.119 well what are you gonna go back to back with 00:18:30.119 --> 00:18:33.859 on that one i don't think you've left me a choice 00:18:33.859 --> 00:18:37.700 to be honest with you You know, if we're going 00:18:37.700 --> 00:18:40.380 to take the gloves off, I have to go with what 00:18:40.380 --> 00:18:45.539 I personally believe is the greatest dance track 00:18:45.539 --> 00:18:48.680 for the entire decade. Oh, you're going right 00:18:48.680 --> 00:18:50.720 here, right at track five. I'm going right here, 00:18:50.720 --> 00:18:52.539 right now. We're right about the middle of the 00:18:52.539 --> 00:18:54.819 first side. Party's heating up. It's time to 00:18:54.819 --> 00:18:56.880 drop this on the party and just have everybody 00:18:56.880 --> 00:18:59.160 go nuts. You could save it for the end. I like 00:18:59.160 --> 00:19:01.099 to give them a little shot of adrenaline right 00:19:01.099 --> 00:19:04.359 in the middle. This song has been remixed 2011 00:19:04.359 --> 00:19:08.980 times. Everybody has a version of it that they 00:19:08.980 --> 00:19:13.460 want to make because it's just so good. And you 00:19:13.460 --> 00:19:16.460 just talked about Whitney -esque with the voice 00:19:16.460 --> 00:19:20.059 from CeCe Pedersen. This woman starts this solo 00:19:20.059 --> 00:19:24.859 with an undeniable and instantly recognizable 00:19:24.859 --> 00:19:28.519 long note. I'm talking about the one and only 00:19:28.519 --> 00:19:31.940 Show Me Love by Robin S. There you go. It hit 00:19:31.940 --> 00:19:35.980 number five on Billboard in 1993. It was released 00:19:35.980 --> 00:19:39.180 in 90 in the UK, came over here about two and 00:19:39.180 --> 00:19:41.460 a half years later. Hot dance tracks, it went 00:19:41.460 --> 00:19:45.259 to number one. And I believe on that list from 00:19:45.259 --> 00:19:49.779 VH1, it was like 65 for best dance songs ever, 00:19:49.859 --> 00:19:52.259 which just somebody should be fired over there. 00:19:52.380 --> 00:19:55.119 That's all. But other than that, this is a hit. 00:19:55.140 --> 00:19:59.240 I play this today when I do clubs or weddings, 00:19:59.319 --> 00:20:03.660 and there is not a single person that's not on 00:20:03.660 --> 00:20:05.329 the dance floor. Or if they're sitting at their 00:20:05.329 --> 00:20:07.089 table, they leave their head back and start singing 00:20:07.089 --> 00:20:08.829 along with it and shaking their head because 00:20:08.829 --> 00:20:11.710 it's infectious. To me, like I said, it's the 00:20:11.710 --> 00:20:14.250 greatest dance song in the 90s, hands down. Rolling 00:20:14.250 --> 00:20:17.789 Stone almost agrees with you because they listed 00:20:17.789 --> 00:20:20.589 it as number nine on their 200 greatest dance 00:20:20.589 --> 00:20:24.339 songs of all time. So, I mean, that's bringing 00:20:24.339 --> 00:20:27.539 in your entire 70s disco era into play, which 00:20:27.539 --> 00:20:29.559 there's a lot of great music from the funk and 00:20:29.559 --> 00:20:32.279 disco of the 70s. Something else you and I have 00:20:32.279 --> 00:20:34.460 talked about doing on possibly a future episode, 00:20:34.539 --> 00:20:37.460 which I'm looking forward to. Billboard ranked 00:20:37.460 --> 00:20:42.279 it 170 on their best pop songs of all time. This 00:20:42.279 --> 00:20:46.500 is an absolute anthem, hands down, hard stop. 00:20:47.140 --> 00:20:50.220 Musically, again, I want to say that sonic atmosphere 00:20:50.220 --> 00:20:52.480 that this song brings. When you listen to this 00:20:52.480 --> 00:20:55.119 in your headphones, there is so much separation 00:20:55.119 --> 00:20:58.299 between the instruments. That bass line, you 00:20:58.299 --> 00:21:00.819 can kind of feel it pulsating in your chest, 00:21:01.000 --> 00:21:04.000 but it never overpowers the song and it never 00:21:04.000 --> 00:21:07.339 overpowers her vocals. It's almost the perfect 00:21:07.339 --> 00:21:10.759 yin and yang with her voice in the upper register 00:21:10.759 --> 00:21:14.220 with that bass that really drives it. And I think 00:21:14.220 --> 00:21:16.220 I know exactly where I'm going to go out of this. 00:21:16.779 --> 00:21:19.920 Because we've got such a vibe going. I know what 00:21:19.920 --> 00:21:23.380 I want and I want it now. We're going to Culture 00:21:23.380 --> 00:21:27.259 Beat and we're going to go Mr. Vain. This was 00:21:27.259 --> 00:21:30.819 another one that was absolutely massive. Reach 00:21:30.819 --> 00:21:36.160 number 17 on the US Billboard Hot 100. And BuzzFeed 00:21:36.160 --> 00:21:40.819 ranks this number 17 in their 101 greatest dance 00:21:40.819 --> 00:21:44.940 songs of the 90s. I think that's actually a little 00:21:44.940 --> 00:21:47.779 low, in my opinion. Mr. Vain was one of those 00:21:47.779 --> 00:21:52.980 songs that had such a crossover appeal. It has 00:21:52.980 --> 00:21:56.019 that same type of vibe that we've strung together, 00:21:56.259 --> 00:21:59.099 I'll say all the way back from Elias and Follow 00:21:59.099 --> 00:22:03.279 Me. It's this pulsating rhythm that goes through 00:22:03.279 --> 00:22:06.640 all these songs, but sonically, there's so much 00:22:06.640 --> 00:22:10.079 music happening in these tracks. It's almost 00:22:10.079 --> 00:22:15.359 a vibe that is... ethereal mixed with something 00:22:15.359 --> 00:22:18.779 you're dancing to between the six tracks we have 00:22:18.779 --> 00:22:21.779 so far. So following up, show me love. Obviously 00:22:21.779 --> 00:22:24.900 you said it's show me love is your favorite dance 00:22:24.900 --> 00:22:26.839 song of all time. I'd be curious to see where 00:22:26.839 --> 00:22:29.299 Mr. Vain hits for you. Mr. Vain is up there. 00:22:29.359 --> 00:22:32.039 It's an instant. Yes. When you hear it, you know, 00:22:32.059 --> 00:22:35.000 you know, even if you don't like the song, which 00:22:35.000 --> 00:22:37.759 I can't picture because it's a pretty cool dance 00:22:37.759 --> 00:22:39.920 song, especially if you grew up around that time 00:22:39.920 --> 00:22:43.099 and that was kind of your vibe. But even if you 00:22:43.099 --> 00:22:46.920 didn't like the song, you could understand why 00:22:46.920 --> 00:22:49.740 whoever played it played it or why somebody's 00:22:49.740 --> 00:22:51.839 like, this is the song I would play right now 00:22:51.839 --> 00:22:53.799 to dance to or this is the song I want to dance 00:22:53.799 --> 00:22:57.240 to right now. It's one of those songs that, you 00:22:57.240 --> 00:22:58.799 know, when people think of traditional songs, 00:22:58.960 --> 00:23:03.440 it's three verses, chorus in the middle of the 00:23:03.440 --> 00:23:05.660 verses, you know, and it's structured the way 00:23:05.660 --> 00:23:09.240 that it's structured. You would just logically 00:23:09.240 --> 00:23:13.470 imagine If I just heard somebody kind of repeat 00:23:13.470 --> 00:23:15.809 the same thing, you know, with a little bit of 00:23:15.809 --> 00:23:17.789 a change here and there, it's just going to get 00:23:17.789 --> 00:23:20.990 old and boring. It's like, no, songs like this, 00:23:21.069 --> 00:23:24.130 they can hit you with a beat that drives as well 00:23:24.130 --> 00:23:26.430 as something like theirs does. Hit you with a 00:23:26.430 --> 00:23:29.470 great hook, sung well, and then throw in those 00:23:29.470 --> 00:23:31.529 little bit of runs that they do with the other. 00:23:31.789 --> 00:23:36.430 And, you know, you're not so much concerned lyrically 00:23:36.430 --> 00:23:38.869 with it as long as it's kind of like the Kurt 00:23:38.869 --> 00:23:42.019 Cobain effect I call it. He used to say melody 00:23:42.019 --> 00:23:46.460 drives the soul over lyrics. And it's evident 00:23:46.460 --> 00:23:49.000 in his lyrics. Even the way he would write would 00:23:49.000 --> 00:23:54.680 be, he would get, I want my voice to sound. And 00:23:54.680 --> 00:23:57.140 we go, okay, now what words fit that pattern 00:23:57.140 --> 00:23:59.940 of melody? And that was his process. It wasn't, 00:23:59.940 --> 00:24:01.940 hey, this is what I want to say. And then how 00:24:01.940 --> 00:24:03.460 am I going to say it again? It was actually reversed. 00:24:03.799 --> 00:24:06.640 These guys come out and they embody that. Let 00:24:06.640 --> 00:24:09.660 me find. The heart and soul of the song, blast 00:24:09.660 --> 00:24:12.119 it out, make that the hook. And then, you know, 00:24:12.119 --> 00:24:13.700 we'll fill in the gaps later and just kind of 00:24:13.700 --> 00:24:16.759 almost like a dressing on the side. We're going 00:24:16.759 --> 00:24:19.140 to kind of, you know, help it push what the original 00:24:19.140 --> 00:24:21.539 intent of the song was. And Mr. Vane does that 00:24:21.539 --> 00:24:23.920 wonderfully. It's a super cool song, man. It's 00:24:23.920 --> 00:24:26.180 a lot of fun to play. And it's definitely gets 00:24:26.180 --> 00:24:28.240 a reaction every time you pop it up. All right. 00:24:28.259 --> 00:24:30.059 So when that's done, what are you coming out 00:24:30.059 --> 00:24:34.579 of that with? Ah, give me a tough one here, man. 00:24:34.680 --> 00:24:39.589 Tough one. Let me see. Okay. so many that should 00:24:39.589 --> 00:24:43.029 make the list, you know, and it's a travesty 00:24:43.029 --> 00:24:46.890 to keep some of these off there. But I am going 00:24:46.890 --> 00:24:49.150 to go with something that had huge commercial 00:24:49.150 --> 00:24:54.450 success, huge crossover success, huge international 00:24:54.450 --> 00:24:59.890 success, and had people speaking a language that 00:24:59.890 --> 00:25:04.130 they did not even know. My next pick, C &C Music 00:25:04.130 --> 00:25:07.880 Factory, Bon Brie Quas Anthem. Oh, okay. The 00:25:07.880 --> 00:25:11.920 song came out in 1994. It was a nine -minute 00:25:11.920 --> 00:25:15.319 song, which we couldn't know. It always went 00:25:15.319 --> 00:25:17.980 too fast just because it was so much fun. You 00:25:17.980 --> 00:25:20.299 didn't want it to end. There's actually a 20 00:25:20.299 --> 00:25:22.900 -minute version as well. It's a little different, 00:25:22.960 --> 00:25:26.079 but it's still a good track. And when this song 00:25:26.079 --> 00:25:31.180 came out, you couldn't watch an entire club stop 00:25:31.180 --> 00:25:35.710 on a dime. So everybody's sweating. rocking back 00:25:35.710 --> 00:25:38.150 and forth the music's going and all of a sudden 00:25:38.150 --> 00:25:43.430 and you hear that saxophone go off forget it 00:25:43.430 --> 00:25:46.470 the moment that goes off and the guy starts talking 00:25:46.470 --> 00:25:49.670 he almost welcomes you to the song officially 00:25:49.670 --> 00:25:53.269 you know and it just everybody singing even if 00:25:53.269 --> 00:25:54.789 you didn't know how to speak spanish you were 00:25:54.789 --> 00:25:58.650 faking it right just to sing along and it it 00:25:58.650 --> 00:26:01.549 goes a little bit of latin a little bit of club 00:26:01.549 --> 00:26:04.720 you know it feels like upbeat almost like a techno 00:26:04.720 --> 00:26:07.400 reggae vibe to it it just it it goes all over 00:26:07.400 --> 00:26:10.819 the map and everywhere it goes it does it right 00:26:10.819 --> 00:26:15.579 it just it rocks it's a huge party song and i 00:26:15.579 --> 00:26:17.660 can't see having a 90s list without it on it 00:26:17.660 --> 00:26:21.180 can we just talk about how robert kribbley's 00:26:21.180 --> 00:26:23.819 and david cole are probably two of the premier 00:26:23.819 --> 00:26:29.380 dance producers of the decade between gonna make 00:26:29.380 --> 00:26:32.779 you sweat which Patreon mixtaper Chad LaMassa 00:26:32.779 --> 00:26:36.000 chimed in with. You had Here We Go, things that 00:26:36.000 --> 00:26:38.640 make you go, hmm. A couple of years later, you 00:26:38.640 --> 00:26:41.519 had Do You Want to Get Funky? Then you go into 00:26:41.519 --> 00:26:44.539 the Barika Anthem. They got you through the whole 00:26:44.539 --> 00:26:48.299 decade, and they always evolved their sound to 00:26:48.299 --> 00:26:52.660 be modern at any given time. Throughout the whole 00:26:52.660 --> 00:26:55.259 decade, they never got themselves dated in any 00:26:55.259 --> 00:26:58.140 way, shape, or form. That's very hard to do in 00:26:58.140 --> 00:27:01.740 the club scene because that club vibe was not 00:27:01.740 --> 00:27:05.519 the same in 1999 as it was in 1990. It evolved 00:27:05.519 --> 00:27:09.259 throughout the whole decade. And these guys evolved 00:27:09.259 --> 00:27:12.619 with it. Well, that's a big thing about the music. 00:27:12.759 --> 00:27:16.460 It was very progressive very quickly because 00:27:16.460 --> 00:27:19.240 it was brand new. The closest thing you had to 00:27:19.240 --> 00:27:22.740 it was disco. Right. And then people started 00:27:22.740 --> 00:27:26.799 to kind of do their own take on things. And, 00:27:26.799 --> 00:27:29.759 you know, you could tell the young music, still 00:27:29.759 --> 00:27:33.279 quality music, but you could tell, like, that's 00:27:33.279 --> 00:27:35.000 the reason it broke through was because it was 00:27:35.000 --> 00:27:38.940 quality. But you can absolutely see the growth. 00:27:39.180 --> 00:27:41.720 I mean, you see what's going on now with Calvin 00:27:41.720 --> 00:27:45.299 Harris or Steve Aoki, people like that. It's 00:27:45.299 --> 00:27:47.480 kind of like, I like to think of it like this. 00:27:47.599 --> 00:27:51.279 The way our technology ran from when we were 00:27:51.279 --> 00:27:54.099 a kid was amazing because we got in the car as 00:27:54.099 --> 00:27:57.089 children. Their parents had, some of them had 00:27:57.089 --> 00:27:59.650 eight tracks for their cassette player in their 00:27:59.650 --> 00:28:02.809 cars or our grandparents did. And then we had 00:28:02.809 --> 00:28:05.670 cassette players. Then all of a sudden we had 00:28:05.670 --> 00:28:08.950 CDs. And now I'm walking around with my phone 00:28:08.950 --> 00:28:10.829 in my pocket. I can listen to any song on the 00:28:10.829 --> 00:28:13.529 planet anytime I want with the push of a button. 00:28:13.750 --> 00:28:16.170 And that all happened within 30 years. Quick 00:28:16.170 --> 00:28:20.470 little run, you know? So to watch music go from 00:28:20.470 --> 00:28:24.980 being disco to... What you see now and these 00:28:24.980 --> 00:28:28.299 international DJs and a lot of EDM music, even 00:28:28.299 --> 00:28:31.619 things like that, it's evolved so quickly. And 00:28:31.619 --> 00:28:34.220 they're a big reason why they push the envelope 00:28:34.220 --> 00:28:36.799 with the stuff that they do. They've stayed true 00:28:36.799 --> 00:28:40.079 to themselves, but also still have shown growth 00:28:40.079 --> 00:28:42.759 and evolution in their music. So, you know, not 00:28:42.759 --> 00:28:44.920 to be a one trick pony or whatever it may be. 00:28:45.200 --> 00:28:47.059 They weren't pigeonholed by any means. And I 00:28:47.059 --> 00:28:49.220 truly believe they can make pretty much any kind 00:28:49.220 --> 00:28:53.829 of song they want and make it well. This is actually, 00:28:53.930 --> 00:28:56.569 if had you gone with gonna make you sweat, it 00:28:56.569 --> 00:28:58.730 would have been real easy to continue that club 00:28:58.730 --> 00:29:02.289 vibe. But the bariqua anthem gives me a little 00:29:02.289 --> 00:29:05.509 bit of room to bounce off here. And I have a 00:29:05.509 --> 00:29:08.769 weird one that I think following it up might 00:29:08.769 --> 00:29:11.970 actually work. Let's hear it. Because the first 00:29:11.970 --> 00:29:16.509 10 or 15 seconds of this song, I don't know why, 00:29:16.609 --> 00:29:20.390 but I actually hear it working because the opening 00:29:20.390 --> 00:29:24.400 of this song. Almost has a Spanish vibe for about 00:29:24.400 --> 00:29:36.220 the first 10 seconds. And then one of the greatest 00:29:36.220 --> 00:29:41.180 bass lines of all time from 1990s world. Click. 00:29:41.220 --> 00:29:43.680 We're going to go with delight. Groove is in 00:29:43.680 --> 00:29:47.160 the heart. This is probably one of my favorite 00:29:47.160 --> 00:29:51.279 dance songs of all time because. It was modern 00:29:51.279 --> 00:29:57.019 in 1990, but it was also a throwback to the 1970s. 00:29:57.019 --> 00:30:01.460 And there were elements of it that felt forward 00:30:01.460 --> 00:30:04.859 -thinking musically. This is a track that features 00:30:04.859 --> 00:30:07.980 Parliament Funkadelic's Bootsy Collins and A 00:30:07.980 --> 00:30:12.819 Tribe Called Quest's Q -Tip over a 70s disco 00:30:12.819 --> 00:30:18.079 funk anthem. Q Magazine ranked this song number 00:30:18.079 --> 00:30:25.130 323. of their 1001 best songs ever, VH1 ranked 00:30:25.130 --> 00:30:28.950 at number 56 in their 100 greatest songs of the 00:30:28.950 --> 00:30:33.329 90s, and BuzzFeed ranked this number 3 in their 00:30:33.329 --> 00:30:37.049 100 greatest dance songs of the 90s. It was a 00:30:37.049 --> 00:30:40.630 top 10 hit, reached number 4, obviously destroyed 00:30:40.630 --> 00:30:44.190 the dance club songs chart. But more than any 00:30:44.190 --> 00:30:47.869 of that, Groove Is In The Heart feels modern 00:30:47.869 --> 00:30:54.299 now. 34 years later, last year, Blues Traveler, 00:30:54.299 --> 00:30:57.859 who Tad Kinchel was on this past October on the 00:30:57.859 --> 00:31:02.720 show, they covered this song and they did a killer 00:31:02.720 --> 00:31:05.660 job on it. But the original is always going to 00:31:05.660 --> 00:31:08.779 hold a special place musically in my heart. And 00:31:08.779 --> 00:31:11.160 I think this might have been the only time tonight 00:31:11.160 --> 00:31:13.680 that I could put this in and have it actually 00:31:13.680 --> 00:31:17.019 make sense because this is not really the club 00:31:17.019 --> 00:31:20.089 dance that we've had. And I don't think this 00:31:20.089 --> 00:31:22.789 song would have worked out of any song on side 00:31:22.789 --> 00:31:26.670 A until now. Delights, groove is in the heart. 00:31:27.109 --> 00:31:29.829 Great song. It's an absolute home run from the 00:31:29.829 --> 00:31:32.289 moment you hear it. Like you said, it's got so 00:31:32.289 --> 00:31:34.609 many different elements. I mean, Q -tip is in 00:31:34.609 --> 00:31:40.029 there. It's its own vibe. And it's unlike most 00:31:40.029 --> 00:31:43.630 songs. It's completely original. I'm in awe of 00:31:43.630 --> 00:31:46.430 how they come up with it. And so many different 00:31:46.430 --> 00:31:49.400 people. from so many different walks kind of 00:31:49.400 --> 00:31:52.640 collaborating on it, it just, it smashes right 00:31:52.640 --> 00:31:54.700 off the bat. And to watch them click musically 00:31:54.700 --> 00:31:57.599 like that is what makes it, it's a must play. 00:31:57.779 --> 00:32:00.299 It's a must play. And I think it's a fantastic 00:32:00.299 --> 00:32:03.680 pick for the soul. So you got one song left for 00:32:03.680 --> 00:32:07.240 Side A. What are you going with? All right. If 00:32:07.240 --> 00:32:10.039 I'm going to follow up Rubas in the Heart, I'm 00:32:10.039 --> 00:32:12.180 going to take it into a little different vibe, 00:32:12.299 --> 00:32:14.839 very similar, but to kind of feed off and transition. 00:32:15.819 --> 00:32:18.579 I'm going to go with a song that just recently 00:32:18.579 --> 00:32:24.759 has a killer remix done. And I'm going to choose 00:32:24.759 --> 00:32:29.539 Fatboy Slim's Praise You Like I Should. This 00:32:29.539 --> 00:32:34.319 song has two mixes that I think are phenomenal. 00:32:34.559 --> 00:32:37.380 The Purple Disco Machine mix is out of this world 00:32:37.380 --> 00:32:40.680 good. And I believe Rita Ora just recently did 00:32:40.680 --> 00:32:43.920 her own version, which was just very, very cool. 00:32:43.980 --> 00:32:48.670 Super current. This song came out in 1999. It 00:32:48.670 --> 00:32:50.829 reached number one in the UK and in Iceland. 00:32:51.029 --> 00:32:53.730 It was number four in Canada, number six in Ireland, 00:32:53.950 --> 00:32:58.410 36 in the States. Also, shout out to my boy Gomez. 00:32:58.490 --> 00:33:01.509 It was used in a movie, which is one of my favorite 00:33:01.509 --> 00:33:04.289 movies of all time. But Cruel Intentions had 00:33:04.289 --> 00:33:07.089 it on the soundtrack. Oh, yeah. It's a very, 00:33:07.170 --> 00:33:11.609 very cool song. And Fatboy Slim just does some 00:33:11.609 --> 00:33:15.829 really, really cool things with his music. It's 00:33:15.829 --> 00:33:20.230 a style that kind of announces itself. He is 00:33:20.230 --> 00:33:23.349 instantly recognizable by his souls, which is 00:33:23.349 --> 00:33:25.390 what I was alluding to earlier when I said sometimes 00:33:25.390 --> 00:33:30.029 DJs or artists in this genre had a harder time 00:33:30.029 --> 00:33:32.690 distinguishing themselves to people who were 00:33:32.690 --> 00:33:37.369 not in the scene as opposed to going to see two 00:33:37.369 --> 00:33:39.130 separate bands and you can easily see the difference 00:33:39.130 --> 00:33:41.569 between Guns N' Roses and Metallica when they're 00:33:41.569 --> 00:33:45.130 on stage. So my pick. Crazy you like I should. 00:33:45.250 --> 00:33:49.109 Fat boy slip. Absolutely love this song. This 00:33:49.109 --> 00:33:52.089 was another one that had a ridiculous crossover 00:33:52.089 --> 00:33:54.390 appeal. And I think that has to do with the MTV 00:33:54.390 --> 00:33:57.150 aspect of it because the video was popular and 00:33:57.150 --> 00:33:59.329 it was getting rotated in with all the stuff 00:33:59.329 --> 00:34:02.309 that was happening around 99. Kind of the start 00:34:02.309 --> 00:34:04.390 of the new metal thing, the Limp Bizkit, the 00:34:04.390 --> 00:34:07.549 TRL, that whole movement. They were getting lumped 00:34:07.549 --> 00:34:12.380 in with Backstreet Boys and. Lit and all these 00:34:12.380 --> 00:34:14.380 other bands that were kind of part of that TRL 00:34:14.380 --> 00:34:16.940 scene. Moby. You had a lot of different things 00:34:16.940 --> 00:34:20.139 happening there. And this song really crossed 00:34:20.139 --> 00:34:22.920 over in a lot of different ways. Kind of the 00:34:22.920 --> 00:34:25.800 jam band scene picked it up a little bit. It 00:34:25.800 --> 00:34:28.480 got picked up almost in a rock vibe. And then 00:34:28.480 --> 00:34:31.099 obviously in clubs and then on pop and top 40 00:34:31.099 --> 00:34:35.380 radio. So love the pick. And to close out side 00:34:35.380 --> 00:34:39.119 A. I am going to record scratch, do a hard pivot 00:34:39.119 --> 00:34:42.860 from Praise You because I am thinking, because 00:34:42.860 --> 00:34:46.820 I start off side B, I want to close with something 00:34:46.820 --> 00:34:51.179 that is personally special to me and then start 00:34:51.179 --> 00:34:53.900 with something on side B that's kind of following 00:34:53.900 --> 00:34:56.840 that vibe. What do you got? So my pivot coming 00:34:56.840 --> 00:35:00.800 out of Praise You is a song that, breaking the 00:35:00.800 --> 00:35:02.860 fourth wall here, Doug and I went to high school 00:35:02.860 --> 00:35:06.460 together. And we played on the same high school 00:35:06.460 --> 00:35:09.420 football team for St. Mary's in Rutherford. And 00:35:09.420 --> 00:35:13.820 this song is very special for me because this 00:35:13.820 --> 00:35:16.460 was the song that after every single victory, 00:35:16.659 --> 00:35:20.500 we would turn on in the locker room. And to me, 00:35:20.519 --> 00:35:23.820 there's no way better to close out the side than 00:35:23.820 --> 00:35:28.599 from 1993's Swing Bat a Swing, K7's Come Baby 00:35:28.599 --> 00:35:32.420 Come. reached number 18 on the US Billboard Hot 00:35:32.420 --> 00:35:35.519 100. It was very important to our area because 00:35:35.519 --> 00:35:37.139 we're right in Rutherford, New Jersey, and the 00:35:37.139 --> 00:35:40.280 music video for this was filmed right down the 00:35:40.280 --> 00:35:43.559 street in Jersey City. BuzzFeed ranked this number 00:35:43.559 --> 00:35:47.500 61 on their 100 Greatest Dance Songs of the 90s. 00:35:47.780 --> 00:35:50.119 I disagree. I think it should be much higher. 00:35:50.659 --> 00:35:52.920 And yeah, there's a little bit of a nostalgic 00:35:52.920 --> 00:35:55.789 element to this song for me because of... The 00:35:55.789 --> 00:35:58.570 connection we had in the locker room after a 00:35:58.570 --> 00:36:02.369 big victory having this on. I just have very 00:36:02.369 --> 00:36:06.110 happy memories of this tune. But at the end of 00:36:06.110 --> 00:36:08.190 the day, it's still a killer dance song. I know 00:36:08.190 --> 00:36:10.349 it brings a little bit of hip hop to it, but 00:36:10.349 --> 00:36:12.769 it's not enough to make it a pure hip hop song. 00:36:12.829 --> 00:36:16.110 This is a dance jam that is also crossed over 00:36:16.110 --> 00:36:19.309 into sports anthems and jock jams and all the 00:36:19.309 --> 00:36:22.269 other stuff as well. This is a great pick. It's 00:36:22.269 --> 00:36:24.570 one of those songs, like you said, has a crossover 00:36:24.570 --> 00:36:27.280 appeal, but. That doesn't change the kind of 00:36:27.280 --> 00:36:29.559 song it is, just because somebody finds a different 00:36:29.559 --> 00:36:32.760 application for it. It's a song that the girls 00:36:32.760 --> 00:36:35.219 love to dance to. It's a song that the guys like 00:36:35.219 --> 00:36:39.260 to listen to and dance to, too. So that's kind 00:36:39.260 --> 00:36:41.820 of when you know it's a hit, is when everybody 00:36:41.820 --> 00:36:44.460 can kind of latch on to it, no matter who you 00:36:44.460 --> 00:36:46.460 are. And this is one of those, for sure. It's 00:36:46.460 --> 00:36:48.059 a song with a home run. First time you heard 00:36:48.059 --> 00:36:50.840 it, you knew it was going to be a hit, and it 00:36:50.840 --> 00:36:53.840 was. So I like your pick. Great way to close 00:36:53.840 --> 00:36:56.920 the side. Well, that mixtapers concludes side 00:36:56.920 --> 00:37:00.340 A of our 90s club and dance anthems playlist, 00:37:00.559 --> 00:37:04.699 which consists of Elias' Follow Me, Snap's Rhythm 00:37:04.699 --> 00:37:08.159 is a Dancer, Crystal Water's 100 % Pure Love, 00:37:08.579 --> 00:37:12.500 CeCe Pennison's Finally, Robin S's Show Me Love, 00:37:12.820 --> 00:37:16.539 Culture Beat's Mr. Vain, C &C Music Factory's 00:37:16.539 --> 00:37:19.559 Bariqua Anthem, D -Lite's Groove is in the Heart, 00:37:19.860 --> 00:37:24.219 Fatboy Slim's Praise You, and K7's Come Baby 00:37:24.219 --> 00:37:27.380 Come. Head over to myweeklymixtape .com to hear 00:37:27.380 --> 00:37:30.199 all the songs we've discussed in this mix through 00:37:30.199 --> 00:37:34.840 the playlist embedded on the episode page. And 00:37:34.840 --> 00:37:40.059 now I get the pleasure of kicking off Side B. 00:37:40.300 --> 00:37:43.519 And like I said at the end of Side A, Come Baby 00:37:43.519 --> 00:37:46.260 Come has this little bit of a harder vibe to 00:37:46.260 --> 00:37:48.699 it. I don't want to say it's necessarily hip 00:37:48.699 --> 00:37:50.559 -hop, but it definitely brings that element into 00:37:50.559 --> 00:37:54.980 the song. And to start off Side B, I'm going 00:37:54.980 --> 00:38:00.360 to use a track that blends hip -hop, swing, and 00:38:00.360 --> 00:38:06.239 R &B with a just infectious dance mentality to 00:38:06.239 --> 00:38:10.099 the song. Probably one of the biggest songs in 00:38:10.099 --> 00:38:12.659 the New Jack Swing movement. This song reached 00:38:12.659 --> 00:38:15.860 number three on the Billboard US Hot 100. I'm 00:38:15.860 --> 00:38:19.050 actually shocked it wasn't number one. And I 00:38:19.050 --> 00:38:22.230 want to use this to start off Side B because 00:38:22.230 --> 00:38:27.650 within a second and a half, most people will 00:38:27.650 --> 00:38:31.750 recognize the song. And it's just from nine snare 00:38:31.750 --> 00:38:34.989 hits and a stinger. And you know exactly what 00:38:34.989 --> 00:38:40.570 song you're listening to. Bell Biv DeVoe's Poison 00:38:40.570 --> 00:38:44.329 from 1990. Starting off early. Yes, it's not 00:38:44.329 --> 00:38:46.829 a club song, but we're doing club and dance. 00:38:47.500 --> 00:38:50.599 And this is an absolute dance anthem that gets 00:38:50.599 --> 00:38:53.539 everybody on the floor and everybody is singing 00:38:53.539 --> 00:38:56.440 along with this at the top of their lungs. I 00:38:56.440 --> 00:38:58.199 think it's a great pick. How can you not have 00:38:58.199 --> 00:39:00.920 another 90s? I mean, you can literally, by the 00:39:00.920 --> 00:39:04.079 way, to squeeze this into almost every 90s playlist 00:39:04.079 --> 00:39:08.139 that you have. People who are strictly rock bands 00:39:08.139 --> 00:39:11.380 recognize the song. I actually watched a video 00:39:11.380 --> 00:39:14.380 just the other day. It's a great video of these 00:39:14.380 --> 00:39:17.099 two young kids. sit there and film themselves 00:39:17.099 --> 00:39:19.659 listening to music from the 90s that they've 00:39:19.659 --> 00:39:23.320 never heard before. And this was a video, ironically, 00:39:23.460 --> 00:39:26.639 that I just saw maybe two days ago. And their 00:39:26.639 --> 00:39:29.820 face just scrunches up. The moment, you know, 00:39:29.820 --> 00:39:35.400 girl, I must warn you. They go, ooh. And then 00:39:35.400 --> 00:39:37.820 when he hits the, it's driving me out of my mind 00:39:37.820 --> 00:39:40.719 and behind, I just, the soul just goes different 00:39:40.719 --> 00:39:43.880 places. They absolutely smash it on every single 00:39:43.880 --> 00:39:48.250 part. You cannot sit still during the song. This 00:39:48.250 --> 00:39:52.590 song plays today regularly. And I get a huge 00:39:52.590 --> 00:39:55.429 reaction every single time. Like you said, they 00:39:55.429 --> 00:39:57.889 don't even have to hear the first note from sitting 00:39:57.889 --> 00:39:59.610 and they just recognize the intro immediately. 00:40:00.130 --> 00:40:04.210 And you see people get up and come back to the 00:40:04.210 --> 00:40:05.769 floor, even if they were tired from the last 00:40:05.769 --> 00:40:08.409 song. And then I got to go get a drink. You know, 00:40:08.409 --> 00:40:10.650 I'll get a drink in three minutes. Hold on. And 00:40:10.650 --> 00:40:14.420 they come back out for that one. And it's a great 00:40:14.420 --> 00:40:16.300 way to kick off the second half of this album. 00:40:16.539 --> 00:40:20.159 I don't think I've ever been to a wedding reception 00:40:20.159 --> 00:40:23.179 where this song wasn't played. And I don't think 00:40:23.179 --> 00:40:28.360 I've ever seen this song not go over like one 00:40:28.360 --> 00:40:30.739 of the biggest songs of the night. Yeah, everybody 00:40:30.739 --> 00:40:33.139 loves it. Even people at my wedding when this 00:40:33.139 --> 00:40:36.199 song played, aunts and uncles and my grandparents, 00:40:36.320 --> 00:40:38.920 everybody had their head moving because... There 00:40:38.920 --> 00:40:41.320 was such a soulfulness to the song, the vocal 00:40:41.320 --> 00:40:43.739 delivery. People that were into Motown in the 00:40:43.739 --> 00:40:46.539 70s could feel that vibe coming off it. People 00:40:46.539 --> 00:40:50.179 that grew up when that song hit, like us, were 00:40:50.179 --> 00:40:52.559 definitely hitting the nostalgia factor hard. 00:40:52.780 --> 00:40:55.760 And then the younger kids respect this because 00:40:55.760 --> 00:40:59.119 of the fact that there's longevity to it. I agree. 00:40:59.219 --> 00:41:01.860 It's a homegrown song, so I think it's a perfect 00:41:01.860 --> 00:41:03.860 pick. And now you're going to have to make me 00:41:03.860 --> 00:41:07.760 rethink my order here for a second. Let's see 00:41:07.760 --> 00:41:11.809 here. Okay, I know where I'm going. So if I'm 00:41:11.809 --> 00:41:13.530 going to follow up Poison, I'm going to pivot 00:41:13.530 --> 00:41:16.389 it a little bit from what my list was. My second 00:41:16.389 --> 00:41:19.309 half of the album is going to be geared more 00:41:19.309 --> 00:41:22.409 towards stuff that you would hear in like New 00:41:22.409 --> 00:41:25.309 York City nightclubs or deep house cuts. But 00:41:25.309 --> 00:41:28.550 there's a song that is so good and it pivots 00:41:28.550 --> 00:41:32.389 so well off Poison, I think, that I cannot drop 00:41:32.389 --> 00:41:34.710 this one in there. So if you're going to go with 00:41:34.710 --> 00:41:36.429 Poison and start the second part of the album, 00:41:36.610 --> 00:41:41.510 I'm going to follow you up. with 1990 smash hit 00:41:41.510 --> 00:41:46.809 by technotronic pump up the jam yes pump up the 00:41:46.809 --> 00:41:49.949 jam has been known as to be like kind of a fusion 00:41:49.949 --> 00:41:52.769 song between hip -hop and deep house it's got 00:41:52.769 --> 00:41:54.750 a little bit of the elements like you said in 00:41:54.750 --> 00:41:58.010 almost the way k7 does but at the same time that 00:41:58.010 --> 00:42:01.650 beat is just completely on the house vibe and 00:42:01.650 --> 00:42:03.690 it's one of those ones where everybody knows 00:42:03.690 --> 00:42:07.300 the hook people that Don't know the song well 00:42:07.300 --> 00:42:09.659 or don't listen to that kind of music. Know this 00:42:09.659 --> 00:42:13.659 song. And Pump Up the Jam is a smash hit that 00:42:13.659 --> 00:42:17.360 was, I think it went to the top 30, I want to 00:42:17.360 --> 00:42:20.199 say. Well, Pump Up the Jam hit number two on 00:42:20.199 --> 00:42:23.380 the Billboard US Hot 100. I bet 100 best dance 00:42:23.380 --> 00:42:25.780 songs of all time. Oh, yeah. I think it was like 00:42:25.780 --> 00:42:27.639 number 30 or number 40, something like that. 00:42:27.719 --> 00:42:31.139 For Slam Magazine, yeah, number 40. Yeah. It's 00:42:31.139 --> 00:42:33.800 just a great song. And if I'm going to follow 00:42:33.800 --> 00:42:35.380 up Poison, I got to keep them on the dance floor. 00:42:36.000 --> 00:42:38.480 That's where I'm going. Pump up the jam, Technotronic. 00:42:38.659 --> 00:42:44.320 And this is one that was a slow burn for popularity. 00:42:44.559 --> 00:42:48.559 It was actually released in 1989, in August. 00:42:48.800 --> 00:42:52.480 Did not hit number two, like I had mentioned, 00:42:52.519 --> 00:42:56.510 for the Billboard charts until 1990. It took 00:42:56.510 --> 00:42:59.150 six months for this song to catch on. And once 00:42:59.150 --> 00:43:02.090 it did, though, that was it. It was over because 00:43:02.090 --> 00:43:04.150 then they followed it up with Get Up Before the 00:43:04.150 --> 00:43:07.630 Night is Over. And they just took over. And most 00:43:07.630 --> 00:43:11.789 people think of this song as a 90s dance anthem. 00:43:11.809 --> 00:43:15.769 And it is 100%. But it actually has a little 00:43:15.769 --> 00:43:18.150 asterisk on it because it was released technically 00:43:18.150 --> 00:43:21.050 at the end of the 80s. And you could include 00:43:21.050 --> 00:43:25.280 this track on an 80s. greatest club and dance 00:43:25.280 --> 00:43:28.900 anthems as well because it technically was released 00:43:28.900 --> 00:43:31.940 then but didn't hit the top of the charts until 00:43:31.940 --> 00:43:34.340 the next decade yeah it's one of the songs where 00:43:34.340 --> 00:43:36.719 i mean think about one of the earlier ones like 00:43:36.719 --> 00:43:40.420 we said finally or show me love when i play show 00:43:40.420 --> 00:43:43.599 me love now clobber wedding everybody digs it 00:43:43.599 --> 00:43:45.219 doesn't matter if they're young if they're old 00:43:45.219 --> 00:43:47.579 if they're in the middle it just carries it sounds 00:43:47.579 --> 00:43:51.130 new you know to whoever hears it they just it's 00:43:51.130 --> 00:43:52.909 another novel so this is the same way if you 00:43:52.909 --> 00:43:54.670 played it with any of these songs it makes sense 00:43:54.670 --> 00:43:56.650 and it can but if you played it with a 90s dance 00:43:56.650 --> 00:43:58.630 tape it makes sense and if you play it now people 00:43:58.630 --> 00:44:00.769 go like oh that's kind of like you know that's 00:44:00.769 --> 00:44:02.730 cool i vibe with that and they jump right on 00:44:02.730 --> 00:44:05.449 it it's a song that transitions and at a very 00:44:05.449 --> 00:44:07.909 specific time like you said to right there at 00:44:07.909 --> 00:44:11.670 the cusp of 89 90 it helped i think transition 00:44:11.670 --> 00:44:15.030 the vibe into house music a little bit more you 00:44:15.030 --> 00:44:18.070 know making it popular I actually think I'm going 00:44:18.070 --> 00:44:20.090 to try something here, and I don't know how well 00:44:20.090 --> 00:44:22.969 this is going to go over, but believe it or not, 00:44:23.070 --> 00:44:26.690 we have a playlist that's kind of doubling as 00:44:26.690 --> 00:44:32.550 a dance club anthems slash stadium anthems, because 00:44:32.550 --> 00:44:36.409 both Poison and Pump Up the Jam are stadium anthems. 00:44:36.829 --> 00:44:39.769 So if I'm going to touch on that a little bit, 00:44:39.849 --> 00:44:43.170 but stay with kind of keeping that energy up, 00:44:43.309 --> 00:44:46.230 I think we got to drop a little bit of... the 00:44:46.230 --> 00:44:50.250 900 number in a sample, and go up to 1996 DJ 00:44:50.250 --> 00:44:54.269 Kool, Let Me Clear My Throat, sampling both Kool 00:44:54.269 --> 00:44:56.429 and the Gang's Hollywood Swinging, and like I 00:44:56.429 --> 00:45:00.570 said, the 45 Kings 900 number, which anyone who 00:45:00.570 --> 00:45:04.570 grew up with Yo! MTV raps refers to as the Ed 00:45:04.570 --> 00:45:08.309 Lover dance. This song shockingly only reached 00:45:08.309 --> 00:45:11.570 number 30 on the Billboard US Hot 100, but because 00:45:11.570 --> 00:45:14.090 of the endless use in sports, I know the Buffalo 00:45:14.090 --> 00:45:17.880 Sabres use it. as their official goal song, wedding 00:45:17.880 --> 00:45:21.219 receptions, and everything else. The version 00:45:21.219 --> 00:45:24.079 that most people are fans of was recorded live 00:45:24.079 --> 00:45:26.800 in Philadelphia. So I guess for our area, New 00:45:26.800 --> 00:45:30.000 Jersey, it almost is like a hometown anthem. 00:45:30.019 --> 00:45:33.559 Even though Philly is over the river, we still 00:45:33.559 --> 00:45:36.719 really embrace this song to another level around 00:45:36.719 --> 00:45:39.980 here. It was all love. So DJ Kool, let me clear 00:45:39.980 --> 00:45:43.329 my throat. That's Smash. I play that. Whenever 00:45:43.329 --> 00:45:45.510 I DJ to tailgates, because obviously the sports 00:45:45.510 --> 00:45:48.289 crossover, I play that during throwback sets, 00:45:48.469 --> 00:45:50.829 whether I'm doing a wedding or at a club, something 00:45:50.829 --> 00:45:53.630 like that. It's a killer song, killer song. And 00:45:53.630 --> 00:45:56.349 like you said, it's actually unique in the way 00:45:56.349 --> 00:46:00.130 that the live version is the preferred version. 00:46:00.730 --> 00:46:03.869 Yeah. Think about how many live dance tracks 00:46:03.869 --> 00:46:07.849 are there with an audience? Like this might be 00:46:07.849 --> 00:46:11.539 it. At least I know it's it on my phone. I don't 00:46:11.539 --> 00:46:14.460 know about you, but. Yeah. Yeah. And you know 00:46:14.460 --> 00:46:17.539 what? It's kind of weird because it transports 00:46:17.539 --> 00:46:20.539 you. It makes you feel like you're there. It's 00:46:20.539 --> 00:46:23.840 a sing -along, basically. You're literally following 00:46:23.840 --> 00:46:26.840 his direction and shouting back at him along 00:46:26.840 --> 00:46:29.579 with everybody else that's on the track, you 00:46:29.579 --> 00:46:31.880 know, and at your party. So great way to kick 00:46:31.880 --> 00:46:34.199 off this second party. I might think it's a good 00:46:34.199 --> 00:46:36.119 choice. All right. Well, what are you coming 00:46:36.119 --> 00:46:38.900 out of? Poison, pump up the jam, and let me clear 00:46:38.900 --> 00:46:41.650 my throat with. I'm going to piggyback the vibe 00:46:41.650 --> 00:46:44.469 or at least the theme. We're going to stick with 00:46:44.469 --> 00:46:47.210 songs that do that crossover that gets so big. 00:46:47.550 --> 00:46:50.150 People use them for stadium songs. People use 00:46:50.150 --> 00:46:53.610 them for sports. I remember this in the club. 00:46:53.829 --> 00:47:00.190 This was more of a techno kind of hit, but it 00:47:00.190 --> 00:47:04.309 had so much appeal, crossover. I remember late 00:47:04.309 --> 00:47:06.690 nights in clubs that I was too young to be in. 00:47:08.489 --> 00:47:10.210 Maybe there are some of the enhancements floating 00:47:10.210 --> 00:47:12.630 around and somebody plays a song like this that 00:47:12.630 --> 00:47:15.489 you've never heard before. And the whole crowd 00:47:15.489 --> 00:47:19.690 starts chanting and you're like, what is going 00:47:19.690 --> 00:47:23.030 on here? I'm talking about current craft 400, 00:47:23.309 --> 00:47:28.010 AKA zombie nation. When that song drops, I mean, 00:47:28.030 --> 00:47:31.230 you hear it all over soccer stadiums, all over 00:47:31.230 --> 00:47:33.869 football stadiums. You hear it everywhere you 00:47:33.869 --> 00:47:36.489 go. And when you're in a club with the lights 00:47:36.489 --> 00:47:41.659 out in this late night and. Oh, oh, oh, oh, oh, 00:47:41.780 --> 00:47:44.880 oh. Everybody just starts chanting along with 00:47:44.880 --> 00:47:48.119 it. It gets louder and louder. The song builds. 00:47:48.320 --> 00:47:51.639 The track is a great building track. It's actually 00:47:51.639 --> 00:47:55.039 sampled from a Commodore 64 game called Lazy 00:47:55.039 --> 00:48:00.280 Jones, which I had no idea. But I cannot and 00:48:00.280 --> 00:48:03.340 will not attempt to pronounce the name of the 00:48:03.340 --> 00:48:05.940 album that it's on because it's by a German artist. 00:48:07.070 --> 00:48:09.869 It's like 36 consonants and one U in the middle. 00:48:09.909 --> 00:48:12.449 So I have no idea how to pronounce that. But 00:48:12.449 --> 00:48:17.630 I'm going to go with Zombie Nation. Dude, I literally 00:48:17.630 --> 00:48:21.090 am smacking myself right now because not a minute 00:48:21.090 --> 00:48:24.070 ago I was sitting there saying, let me clear 00:48:24.070 --> 00:48:27.369 my throat might be the only live dance song maybe 00:48:27.369 --> 00:48:30.269 ever or definitely on my phone. And then you 00:48:30.269 --> 00:48:32.579 go and drop another one. I'm like. Ah, shit, 00:48:32.719 --> 00:48:35.019 because there's a live remix that was in the 00:48:35.019 --> 00:48:37.199 movie Elemental. There's the live remix in that. 00:48:37.400 --> 00:48:40.539 And yeah, that's on my phone as well. So I completely 00:48:40.539 --> 00:48:43.360 put my foot in my mouth with that. But what a 00:48:43.360 --> 00:48:46.320 perfect song to come out of Let Me Clear My Throat 00:48:46.320 --> 00:48:49.940 because you feel that live energy in this song 00:48:49.940 --> 00:48:52.440 when the crowd is singing along, where it almost 00:48:52.440 --> 00:48:55.900 blurs the line of, is that coming from the speakers 00:48:55.900 --> 00:48:59.119 or is it coming from the room? And you become 00:48:59.119 --> 00:49:02.599 part of the song. When everyone sings along with 00:49:02.599 --> 00:49:04.280 it at a stadium, you don't know what part of 00:49:04.280 --> 00:49:06.880 that is the actual recording and what part of 00:49:06.880 --> 00:49:10.019 that's the atmosphere you're in. So I frigging 00:49:10.019 --> 00:49:13.760 love this pick. And I got to give a shout out 00:49:13.760 --> 00:49:16.699 to my good college buddy, Frank the Tank Fleming. 00:49:17.219 --> 00:49:20.880 Episode 11, the ultimate sports and stadium anthems. 00:49:20.880 --> 00:49:23.500 He dropped this one for sure. Barstool Sports, 00:49:23.699 --> 00:49:26.119 he's been doing a walking program for the last 00:49:26.119 --> 00:49:28.139 six months. He's dropped a ridiculous amount 00:49:28.139 --> 00:49:30.980 of weight. Way to go, brother. So happy to see 00:49:30.980 --> 00:49:33.119 it. So hopefully he's cranking this when he's 00:49:33.119 --> 00:49:35.760 doing it. This song is so frigging killer. And 00:49:35.760 --> 00:49:39.119 look, I immediately want to go back and recut 00:49:39.119 --> 00:49:41.000 that whole part about let me clear my throat 00:49:41.000 --> 00:49:44.199 because I totally botched it. And you found the 00:49:44.199 --> 00:49:47.239 perfect song to come out of it. And I don't even 00:49:47.239 --> 00:49:50.360 have to hesitate with what I'm coming out of 00:49:50.360 --> 00:49:53.400 Zombie Nation with. What do we got? Because Zombie 00:49:53.400 --> 00:49:56.159 Nation has a little bit of a rock attitude to 00:49:56.159 --> 00:49:58.579 it. And I think if you're going to talk about 00:49:58.579 --> 00:50:02.199 90s dance music and bring a little bit of a rock 00:50:02.199 --> 00:50:05.639 attitude that really crosses the line into that 00:50:05.639 --> 00:50:10.780 stadium anthem club or a rock venue, it doesn't 00:50:10.780 --> 00:50:13.440 get any better than 1997's The Fat of the Land 00:50:13.440 --> 00:50:16.920 and I'm going with Prodigy's Firestarter. This 00:50:16.920 --> 00:50:20.219 keeps things danceable, but it brings the heft 00:50:20.219 --> 00:50:24.320 to it. This song reached number 30 on the Billboard 00:50:24.320 --> 00:50:28.519 US Hot 100, and Rolling Stone ranked it 110 on 00:50:28.519 --> 00:50:32.820 their 200 Greatest Dance Songs of All Time. This 00:50:32.820 --> 00:50:37.659 one just slays. Papa Roach covered this song 00:50:37.659 --> 00:50:40.219 when I saw them last year open for Shinedown, 00:50:40.280 --> 00:50:43.599 and they dedicated it to Keith Flint, who was 00:50:43.599 --> 00:50:45.860 such a unique talent, and it sucks that he's 00:50:45.860 --> 00:50:49.980 no longer with us. And this song is... I have 00:50:49.980 --> 00:50:53.659 rocked this song on dance playlists, on workout 00:50:53.659 --> 00:50:57.699 mixes, and I've put it on metal mixes because 00:50:57.699 --> 00:51:00.920 it just fits that vibe. There's such a crossover 00:51:00.920 --> 00:51:04.739 appeal to it that you could dance to it and start 00:51:04.739 --> 00:51:07.199 a mosh pit at the same time. And coming out of 00:51:07.199 --> 00:51:09.900 Zombie Nation, I feel like that's the energy. 00:51:10.019 --> 00:51:12.719 That's where this is going. Cool pick. You know, 00:51:12.780 --> 00:51:18.480 it's the other side of the coin from K7. You 00:51:18.480 --> 00:51:22.719 have a song that is a dance song, but it has 00:51:22.719 --> 00:51:26.059 that hip -hop influence, and you can tell that 00:51:26.059 --> 00:51:28.960 it's on there. This, like you said, has more 00:51:28.960 --> 00:51:32.679 of a metal influence and can be played in different 00:51:32.679 --> 00:51:34.480 playlists, like you said, whether it's a metal 00:51:34.480 --> 00:51:36.980 playlist or whether it's an anthems playlist 00:51:36.980 --> 00:51:39.059 or whether it's a dance playlist, whatever it 00:51:39.059 --> 00:51:43.579 may be. Seeing them able to take their version 00:51:43.579 --> 00:51:48.059 of dance and turn it a little bit harder. I guess, 00:51:48.079 --> 00:51:51.460 but make it palatable to where people, you know, 00:51:51.460 --> 00:51:53.519 want to hear it no matter what the vibe is. I 00:51:53.519 --> 00:51:56.300 think it's a great pick and a huge song, huge, 00:51:56.300 --> 00:51:58.360 huge song. I remember the guy's funny haircut 00:51:58.360 --> 00:52:01.539 stuff from the video. Yeah. Yeah. So what are 00:52:01.539 --> 00:52:05.420 you following up with on this kind of club slash 00:52:05.420 --> 00:52:08.280 stadium anthem slash dance vibe we got going 00:52:08.280 --> 00:52:12.400 here? Okay. So I'm going to go with one that 00:52:12.400 --> 00:52:16.579 plays in stadiums, but was not designed to at 00:52:16.579 --> 00:52:20.619 all. It is the first track, I believe, on this 00:52:20.619 --> 00:52:23.539 entire playlist that does not have any vocals. 00:52:23.980 --> 00:52:30.400 Nice. This is a song by a Finnish DJ called Darude 00:52:30.400 --> 00:52:35.480 from 1999. The original mix was seven minutes 00:52:35.480 --> 00:52:40.960 long. The radio version is like 345. But I'm 00:52:40.960 --> 00:52:43.820 going to go with Sandstorm. Now, when this song 00:52:43.820 --> 00:52:47.400 would drop in a club. It was new for me because 00:52:47.400 --> 00:52:52.780 like I said, I'm used to songs with lyrics. So 00:52:52.780 --> 00:52:56.019 how can you just play me an instrumental and 00:52:56.019 --> 00:52:59.179 I'm supposed to like it? That logical doesn't 00:52:59.179 --> 00:53:01.460 make sense. Never going to work. Why would anybody 00:53:01.460 --> 00:53:04.519 do that? And then you're in the club and this 00:53:04.519 --> 00:53:07.239 song comes on and it just takes you on a journey 00:53:07.239 --> 00:53:09.940 and you're just, you're rocking with it. It builds. 00:53:10.429 --> 00:53:13.030 When the drop comes in and it's just going, it's 00:53:13.030 --> 00:53:15.670 an entire vibe unto itself. And I can't picture 00:53:15.670 --> 00:53:18.250 having a 90s dance song without having Sandstorm 00:53:18.250 --> 00:53:22.670 on there. Love the tune. Reach number 83 on the 00:53:22.670 --> 00:53:25.650 Billboard US Hot 100. So believe it or not, this 00:53:25.650 --> 00:53:27.449 might be one of those instances where people 00:53:27.449 --> 00:53:29.969 are sitting there going, this doesn't sound familiar. 00:53:30.489 --> 00:53:33.449 When you hear the song, it's one of those, oh, 00:53:33.710 --> 00:53:38.130 that. That's the name of that song. Exactly right. 00:53:40.329 --> 00:53:42.550 you know, how to contend with back when we were 00:53:42.550 --> 00:53:45.889 hitting the clubs is we didn't have Shazam. And 00:53:45.889 --> 00:53:50.230 when you're in the limelight or you're in sound 00:53:50.230 --> 00:53:53.590 factory, you know how far it is to get over to 00:53:53.590 --> 00:53:58.010 the DJ. I'd be like, Hey, Hey, what are you playing 00:53:58.010 --> 00:54:01.469 right now? Yup. And if you're listening on the 00:54:01.469 --> 00:54:04.929 radio, you have to wait for the DJ to hopefully 00:54:04.929 --> 00:54:08.010 talk back up what you just heard. If they even 00:54:08.010 --> 00:54:10.820 get. And so you used to have to find out who 00:54:10.820 --> 00:54:13.079 it was, and then you used to have to go to the 00:54:13.079 --> 00:54:16.440 record store and get it on vinyl. And this is 00:54:16.440 --> 00:54:18.000 one of those songs that I absolutely did that 00:54:18.000 --> 00:54:21.440 for because it was such a good hit. It is. It's 00:54:21.440 --> 00:54:25.440 great. And the instrumental vibe to it, I'm intrigued. 00:54:26.260 --> 00:54:28.519 And I think I know what I'm going to come out 00:54:28.519 --> 00:54:31.059 of it with. I think we're going to stay instrumental 00:54:31.059 --> 00:54:34.260 for a little bit before we take it home. And 00:54:34.260 --> 00:54:37.650 I'm going to go with an Italian composer. I dropped 00:54:37.650 --> 00:54:40.630 this song in 1996 and the first time I heard 00:54:40.630 --> 00:54:44.110 it, I was mesmerized. I talked a little bit about 00:54:44.110 --> 00:54:46.969 side A, about the separation and the dynamics 00:54:46.969 --> 00:54:49.750 in the music. And to me, this is one of those 00:54:49.750 --> 00:54:54.230 songs that just blows my mind from a musical 00:54:54.230 --> 00:54:57.050 standpoint because there's so much happening 00:54:57.050 --> 00:55:00.469 and it's so big and you can listen to so many 00:55:00.469 --> 00:55:02.409 different instruments. You can get lost in this 00:55:02.409 --> 00:55:06.219 song like it's a movie happening. without any 00:55:06.219 --> 00:55:10.219 vocals. And the album is called Dreamland. The 00:55:10.219 --> 00:55:13.559 artist is Robert Miles, and the song is Children. 00:55:13.860 --> 00:55:17.699 It was one of the pillars of this vibe that was 00:55:17.699 --> 00:55:22.300 called Dreamhouse EDM, which involves these beautiful 00:55:22.300 --> 00:55:25.840 piano melodies over that four -on -the -floor 00:55:25.840 --> 00:55:28.079 bass drum beat that I talked about on side A. 00:55:28.260 --> 00:55:31.719 It reached number one in 12 different countries. 00:55:32.329 --> 00:55:35.070 and hit number 21 on the Billboard US Hot 100. 00:55:35.469 --> 00:55:38.329 And again, it topped the Dance Club Songs chart. 00:55:38.730 --> 00:55:42.190 Just like Sandstorm, there are people that are 00:55:42.190 --> 00:55:44.929 going, what the hell song are you talking about? 00:55:45.230 --> 00:55:48.150 And when you go to the playlist at myweeklymixtape 00:55:48.150 --> 00:55:50.929 .com and you listen to it, you're going to go, 00:55:51.030 --> 00:55:55.170 oh, I know both Sandstorm and Children because 00:55:55.170 --> 00:55:59.349 those two songs are very memorable instrumentals 00:55:59.349 --> 00:56:03.000 that a lot of people just... There's not that 00:56:03.000 --> 00:56:06.059 zombie nation moment where you could sit there 00:56:06.059 --> 00:56:09.119 and go, oh, and everyone knows what you're talking 00:56:09.119 --> 00:56:11.320 about. These are a little bit different. You 00:56:11.320 --> 00:56:13.380 actually have to hum out the piano in Children, 00:56:13.539 --> 00:56:15.880 which sounds a little bit more ridiculous trying 00:56:15.880 --> 00:56:17.900 to do. Yeah, I'm not even going to attempt it, 00:56:17.920 --> 00:56:21.039 but it's an amazing song. This is a song that, 00:56:21.059 --> 00:56:23.559 you know, obviously you can use it in movies. 00:56:24.239 --> 00:56:28.940 It's an emotion invoking in a huge way. You can't 00:56:28.940 --> 00:56:32.530 help but. kind of pause when you hear it, you 00:56:32.530 --> 00:56:36.010 know, because it comes on and it's just so ethereal. 00:56:36.170 --> 00:56:39.090 Like you said, it's out there and it transports 00:56:39.090 --> 00:56:42.750 you to this place where all you are is you and 00:56:42.750 --> 00:56:45.389 you're surrounded by that sound. And that music 00:56:45.389 --> 00:56:48.150 is kind of dictating where you're going on your 00:56:48.150 --> 00:56:51.449 little trip. But it's a fantastic song. And again, 00:56:51.610 --> 00:56:56.010 it defies the logic of you need to have a vocal 00:56:56.010 --> 00:56:59.309 or lyrics or whatever it may be in your song. 00:56:59.820 --> 00:57:02.280 to make it a hit, which you clearly didn't stop. 00:57:02.880 --> 00:57:06.139 And is it weird for me to say that this song 00:57:06.139 --> 00:57:09.400 makes me both want to get up and dance and relaxes 00:57:09.400 --> 00:57:13.019 me simultaneously? That's the beauty of it, is 00:57:13.019 --> 00:57:19.039 it's so full of emotion and vibe that you can 00:57:19.039 --> 00:57:20.980 literally take it any direction you want. The 00:57:20.980 --> 00:57:23.099 song can make you sit there and get reflective. 00:57:24.319 --> 00:57:27.539 and start to feel emotional, it can also make 00:57:27.539 --> 00:57:30.500 you so relaxed because it's just musically beautiful. 00:57:31.059 --> 00:57:35.579 And then also, it can be a happy, uplifting kind 00:57:35.579 --> 00:57:38.659 of moment at the same time. It all depends. Whatever 00:57:38.659 --> 00:57:41.119 you need it to be, it can be. And that's about 00:57:41.119 --> 00:57:44.440 beautiful songs. And a great job to be able to 00:57:44.440 --> 00:57:46.519 do that because not many songs can. Yeah, it's 00:57:46.519 --> 00:57:49.079 a stroke of genius musically. So what are you 00:57:49.079 --> 00:57:52.039 going to follow up our one -two punch of instrumentals 00:57:52.039 --> 00:57:54.000 with? Are we going to introduce the vocals for 00:57:54.000 --> 00:57:59.119 the close here? Okay. I got two left. I'm going 00:57:59.119 --> 00:58:02.139 to ease back into the vocals to kind of set up 00:58:02.139 --> 00:58:05.900 my final play for the last song. So this next 00:58:05.900 --> 00:58:11.420 song came out 1992. But in 1995, it went international. 00:58:12.119 --> 00:58:14.639 It's by a Scottish group called Nightcallers. 00:58:14.900 --> 00:58:17.099 And this song is another one of those songs. 00:58:17.440 --> 00:58:19.599 where somebody's going to have to go, oh, that's 00:58:19.599 --> 00:58:21.739 the name of that song? When they hear it, they 00:58:21.739 --> 00:58:23.820 probably won't know it, most people at least, 00:58:23.820 --> 00:58:26.239 by name. But this is called Push the Feeling 00:58:26.239 --> 00:58:31.159 On. It's rooted in jazz and disco. It has a very, 00:58:31.179 --> 00:58:34.440 very catchy vibe. And the horns of this, the 00:58:34.440 --> 00:58:37.420 sounds, I believe it's saxophone. You're going 00:58:37.420 --> 00:58:39.679 to be a big fan of it too. I know that because 00:58:39.679 --> 00:58:43.219 I know you like your saxophone songs. They absolutely 00:58:43.219 --> 00:58:48.829 crushed this. one of those songs where the minute 00:58:48.829 --> 00:58:51.590 you hear the beat and the way they the togas 00:58:51.590 --> 00:58:54.690 i i think of you know these as kind of like the 00:58:54.690 --> 00:58:57.130 hook for the song even though it's not necessarily 00:58:57.130 --> 00:59:00.070 the hook or the chorus as you would think from 00:59:00.070 --> 00:59:02.309 like a band but when you hear that's you know 00:59:02.309 --> 00:59:03.909 because everybody will go what's that song that 00:59:03.909 --> 00:59:09.010 goes yeah that and that that's the part that 00:59:09.010 --> 00:59:11.650 sticks with them immediately that's one of these 00:59:11.650 --> 00:59:15.699 songs and uh it's a killer track I think it plays 00:59:15.699 --> 00:59:19.699 well even today. So push the feeling out by Nyquist 00:59:19.699 --> 00:59:23.320 my next day. Once again, this is a hot 100 hit. 00:59:23.380 --> 00:59:26.320 It hit number 80, reached number seven on the 00:59:26.320 --> 00:59:29.639 Hot Dance Club play charts. So I think this was 00:59:29.639 --> 00:59:31.679 much bigger in the club than it might have been 00:59:31.679 --> 00:59:34.739 on radio. But once, like you said, once you hear 00:59:34.739 --> 00:59:37.780 it, it's, oh my God, how do I, why do I remember 00:59:37.780 --> 00:59:41.820 this one? It was all over radio for a hot minute, 00:59:41.880 --> 00:59:44.989 but unfortunately didn't have. A ton of staying 00:59:44.989 --> 00:59:48.469 power on the radio, but it did in the club. And 00:59:48.469 --> 00:59:51.050 I think it's a great pick coming out of children 00:59:51.050 --> 00:59:56.150 because if you went and did a ridiculously hard 00:59:56.150 --> 01:00:00.650 pivot into something, say, like Quad City DJs 01:00:00.650 --> 01:00:02.469 come and ride the train coming out of children, 01:00:02.690 --> 01:00:06.690 it would have just felt odd. Like you've got 01:00:06.690 --> 01:00:08.929 to ease your way out of children because it was 01:00:08.929 --> 01:00:11.150 so emotional. Can't do the Tootsie Roll after 01:00:11.150 --> 01:00:13.329 you listen to Choke. Exactly. Those type of that 01:00:13.329 --> 01:00:16.309 deep south bass with the kind of the sexualized 01:00:16.309 --> 01:00:18.210 lyrics coming out of something so emotional, 01:00:18.309 --> 01:00:21.650 it would have been too much of a pivot. So I 01:00:21.650 --> 01:00:24.230 love the concept with going with Nightcrawlers 01:00:24.230 --> 01:00:27.130 here. And I actually think there's only one song 01:00:27.130 --> 01:00:29.909 that I have left in my bank that'll really speak 01:00:29.909 --> 01:00:33.110 well because you mentioned the saxophone. This 01:00:33.110 --> 01:00:37.110 one is not necessarily in that vibe, but I think 01:00:37.110 --> 01:00:40.019 coming out of it. at least from everything else 01:00:40.019 --> 01:00:42.519 that I have, because I have a lot of more of 01:00:42.519 --> 01:00:46.579 that club feel like LaBouche, Be My Lover. I 01:00:46.579 --> 01:00:48.940 could have brought Cher's Believe into the fold 01:00:48.940 --> 01:00:51.960 because of the introduction of Auto -Tune. Huge 01:00:51.960 --> 01:00:54.780 record. Obviously, you got Aqua's Barbie Girl. 01:00:54.860 --> 01:00:57.960 You got Two Unlimited, No Limit. But I think 01:00:57.960 --> 01:01:01.860 coming out of Nightcrawlers, the way I want to 01:01:01.860 --> 01:01:04.880 go is off of 1999 Synchronized, and we're going 01:01:04.880 --> 01:01:07.590 to bring some British funk into this. Let's have 01:01:07.590 --> 01:01:10.989 some Jamiroquai and Canned Heat. This reached 01:01:10.989 --> 01:01:13.789 number one on the dance club chart, never cracked 01:01:13.789 --> 01:01:17.150 the top 100, but to me is one of those songs 01:01:17.150 --> 01:01:21.190 that has such a unique, timeless energy to it. 01:01:21.590 --> 01:01:24.849 And it's definitely one towards the end of this 01:01:24.849 --> 01:01:26.849 mix that people are going to go, oh my God, I 01:01:26.849 --> 01:01:28.929 can't believe we're hearing this. And I think 01:01:28.929 --> 01:01:31.769 that's the same vibe they get from Push the Feeling 01:01:31.769 --> 01:01:34.369 On. I feel like coming out of the instrumental 01:01:34.369 --> 01:01:38.210 segment we did, Nightcrawlers, Jamiroquai. I 01:01:38.210 --> 01:01:40.750 think there's a vibe going here. Yeah, it's a 01:01:40.750 --> 01:01:43.989 great song, great album. He's got his own little 01:01:43.989 --> 01:01:47.610 lane that he carved out for himself. And it's 01:01:47.610 --> 01:01:51.409 just, like they say, it's a vibe. And he embodies 01:01:51.409 --> 01:01:54.650 it fully. He can do it on the lighter jazz side. 01:01:54.750 --> 01:01:57.110 He can do it on the dance side. And this was 01:01:57.110 --> 01:01:58.929 one of his best songs. I think it was a great, 01:01:58.949 --> 01:02:01.389 great choice. Definitely a party goer. Yeah, 01:02:01.469 --> 01:02:03.750 definitely a party maker. So I like the pick. 01:02:04.480 --> 01:02:07.719 Well, closing out the evening, man, you got no 01:02:07.719 --> 01:02:10.760 small challenge here. What are we closing this 01:02:10.760 --> 01:02:14.900 up with? It's got to be fireworks, right? It's 01:02:14.900 --> 01:02:18.320 got to be a home run. So if it has to be that, 01:02:18.480 --> 01:02:21.880 I'm going to go with a song that does it all. 01:02:22.179 --> 01:02:25.380 Give me a song that gets you going emotionally. 01:02:25.860 --> 01:02:28.579 It'll hit you right in the heart. Give me a song 01:02:28.579 --> 01:02:31.960 that's got power vocals. And I think this is 01:02:31.960 --> 01:02:34.989 probably the best to ever do it. Power vocal 01:02:34.989 --> 01:02:39.869 wise. Give me a song that's new, that breaks 01:02:39.869 --> 01:02:42.550 a barrier, that does something that people have 01:02:42.550 --> 01:02:47.730 not been doing yet. But give me a song that also 01:02:47.730 --> 01:02:50.570 gives you that nostalgic feel at the same time. 01:02:50.809 --> 01:02:54.170 There's not many songs that do this. This one 01:02:54.170 --> 01:02:58.769 did it perfectly. Monster hit, Return to Form. 01:02:59.230 --> 01:03:03.420 And I'm talking about... legendary DJ Jonathan 01:03:03.420 --> 01:03:07.619 Peters and his remix, Whitney Houston, My Love 01:03:07.619 --> 01:03:11.920 Is Your Love. When that song dropped in 99, people 01:03:11.920 --> 01:03:14.659 had not heard it done that way before. My Love 01:03:14.659 --> 01:03:19.280 Is Your Love is a slow burn reggae influenced 01:03:19.280 --> 01:03:25.099 song. And it's absolutely gorgeous in that version. 01:03:25.199 --> 01:03:28.869 I love that slow, sexy vibe by Whitney. They 01:03:28.869 --> 01:03:31.050 called it the triumphant return to form, which 01:03:31.050 --> 01:03:34.369 he dropped it. It's just got a super, super cool 01:03:34.369 --> 01:03:38.989 Bob Marley -esque kind of just heartfelt vibe 01:03:38.989 --> 01:03:43.789 to it. Jonathan Peters took this song, put it 01:03:43.789 --> 01:03:46.769 in the biggest nightclubs in New York City, put 01:03:46.769 --> 01:03:51.170 a dance track behind it, but saved the emotion 01:03:51.170 --> 01:03:55.269 of the song at the same time. A lot of songs 01:03:55.269 --> 01:03:59.190 that... fall into this format of a remix are 01:03:59.190 --> 01:04:02.469 done. I don't want to say, I don't want to criticize 01:04:02.469 --> 01:04:05.150 music, but I don't want to say, you know, without 01:04:05.150 --> 01:04:09.869 a heart, but it's basically take the lyrics or 01:04:09.869 --> 01:04:13.190 the vocals, adjust the beat per minute and put 01:04:13.190 --> 01:04:20.429 it behind it at just a fast version, but without 01:04:20.429 --> 01:04:22.090 the distortion, you know, so it doesn't sound 01:04:22.090 --> 01:04:24.809 like Alvin and the Chipmunks. And that's basically 01:04:24.809 --> 01:04:29.119 the song. And this was nothing like that. He 01:04:29.119 --> 01:04:32.280 has drops where he just lets the vocals do the 01:04:32.280 --> 01:04:35.559 work. You know, little tiny instruments in the 01:04:35.559 --> 01:04:37.800 background. Then he brings the beat in hard. 01:04:37.920 --> 01:04:41.960 The bass drops. It's the perfect club song. It's 01:04:41.960 --> 01:04:45.019 cited by the queen. So I can't think of a better 01:04:45.019 --> 01:04:48.480 way to end the album than 1999's My Love Is Your 01:04:48.480 --> 01:04:52.360 Love. Bomb drop. Love the pick. Love the song. 01:04:52.460 --> 01:04:55.929 Love that we got Whitney. Into this fold, because 01:04:55.929 --> 01:04:58.389 I mean, a lot of we we talked about a lot of 01:04:58.389 --> 01:05:01.010 great female singers, especially alongside a. 01:05:01.349 --> 01:05:04.429 But Whitney's the queen of all of them. I mean, 01:05:04.449 --> 01:05:08.650 in the 90s, I know Mariah was the voice of the 01:05:08.650 --> 01:05:12.090 90s, but Whitney just took it to another level, 01:05:12.210 --> 01:05:14.889 always took it to another level. And I like that 01:05:14.889 --> 01:05:17.610 you bring up the fact that there was this moment 01:05:17.610 --> 01:05:22.150 in the 90s where it seemed like every song had. 01:05:22.519 --> 01:05:26.420 a club or dance remix. I vividly remember seeing 01:05:26.420 --> 01:05:30.420 a cassette single of One Headlight by the Wallflowers 01:05:30.420 --> 01:05:33.980 done in dance form. I vividly remember the smash 01:05:33.980 --> 01:05:36.320 hit that Nikki French had, Totally Clips of the 01:05:36.320 --> 01:05:38.579 Heart, where she took Bonnie Tyler's song and 01:05:38.579 --> 01:05:41.639 just kind of sped it up. I think hers was a little 01:05:41.639 --> 01:05:43.980 better than the example you gave. That was a 01:05:43.980 --> 01:05:46.780 good version. That was good. But there were other 01:05:46.780 --> 01:05:49.559 songs, like you said, that took a slow song. 01:05:50.110 --> 01:05:52.809 Just put it at 128 beats per minute. And then 01:05:52.809 --> 01:05:56.170 just sped it up and it felt almost soulless. 01:05:56.670 --> 01:06:01.289 This has the soul. It has the energy. You feel 01:06:01.289 --> 01:06:04.650 the song still, but it's a completely different 01:06:04.650 --> 01:06:08.030 song. You could listen to the two versions back 01:06:08.030 --> 01:06:10.769 to back and think you're listening to two different 01:06:10.769 --> 01:06:15.090 artists. He did such an amazing job on this remix. 01:06:15.269 --> 01:06:17.550 It's an exclamation point at the end of the side. 01:06:17.610 --> 01:06:20.739 I love it. And there you have it, folks. Side 01:06:20.739 --> 01:06:24.280 B of our ultimate 90s club and dance anthems 01:06:24.280 --> 01:06:26.960 playlist, which kicked off with Bell Biv DeVoe's 01:06:26.960 --> 01:06:31.079 Poison, Technotronics' Pump Up the Jam, DJ Kool's 01:06:31.079 --> 01:06:34.420 Let Me Clear My Throat, Kernkraft 400's Zombie 01:06:34.420 --> 01:06:38.719 Nation, Prodigy's Firestarter, Darude's Sam Storm, 01:06:39.059 --> 01:06:42.400 Robert Miles' Children, Nightcrawler's Push the 01:06:42.400 --> 01:06:45.880 Feeling On, Jamiroquai's Canned Heat, and Whitney 01:06:45.880 --> 01:06:49.079 Houston's My Love Is Your Love, Jonathan Peters 01:06:49.079 --> 01:06:52.519 remix. Head over to myweeklymixtape .com to hear 01:06:52.519 --> 01:06:55.440 all the songs we've discussed in this mix through 01:06:55.440 --> 01:06:59.059 the playlist embedded on the episode page. Now, 01:06:59.079 --> 01:07:01.039 Doug, why don't you let people know where they 01:07:01.039 --> 01:07:02.880 can learn more about you and get in touch with 01:07:02.880 --> 01:07:05.159 you on social media, find out more about Elite 01:07:05.159 --> 01:07:07.659 Sound Entertainment, and maybe bring you on to 01:07:07.659 --> 01:07:10.480 take care of their next event? Hey, let us know. 01:07:10.559 --> 01:07:12.420 Elite Sound Entertainment. We're based out of 01:07:12.420 --> 01:07:15.050 Saddlebrook, New Jersey. New Jersey premier DJ 01:07:15.050 --> 01:07:17.630 service. We got everything and anything you need 01:07:17.630 --> 01:07:19.969 from simple stripped down music for the lovers 01:07:19.969 --> 01:07:21.989 to all the bells and whistles for the biggest 01:07:21.989 --> 01:07:24.829 part of your life. So let us know what you need. 01:07:24.869 --> 01:07:27.030 We'll make sure we make it happen for you. Come 01:07:27.030 --> 01:07:29.610 see me. Ask for Doug. And if you mentioned that 01:07:29.610 --> 01:07:31.829 you heard us on my weekly mixtape, I'll make 01:07:31.829 --> 01:07:33.289 sure I take care of you with an extra discount. 01:07:33.829 --> 01:07:36.030 Well, dude, this has been an absolute blast. 01:07:36.150 --> 01:07:38.090 Thank you so much for joining me tonight, man. 01:07:38.469 --> 01:07:40.530 Thanks. Love being here, guys. Enjoy the playlist. 01:07:40.610 --> 01:07:42.639 Can't wait to see what you guys think. And remember, 01:07:42.739 --> 01:07:45.000 Mixtapers, you can find My Weekly Mixtape on 01:07:45.000 --> 01:07:48.000 almost all the social media haunts at My Weekly 01:07:48.000 --> 01:07:50.699 Mixtape. You can also head to MyWeeklyMixtape 01:07:50.699 --> 01:07:53.679 .com to check out the full catalog of My Weekly 01:07:53.679 --> 01:07:55.940 Mixtape episodes. 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