Dear Fellow Dance Music Lovers,
This blog brings you the best in Dance Music and Club Classics; from early 87 (back in the daze) through to the present day.
For all those who rocked it all night until the early hours, to those that lived for clubbing and couldn't wait for the weekend to arrive. Enjoy and leave any comments on the blog or contact direct by email at pureclubclassics@live.co.uk
Very much on the Balearic tip, that being very eclectic and not totally aimed at the dancefloor, yet a track which just just so great it would make a great closing track.
Lights on and this blasting out as everyone came together as one on the floor.
It's just a great pop sone from 1985, but 40 years on, it still sounds awesome.
The saxophone in this is superb also, as with many 80's tracks.
This was very much a one hit wonder, but oh what a hit.
Certainly worthy of PCC status in that true Balearic mould.
I purposely avoided posted some of the old classics when I first started the blog way back in back in 2009, as the focus was on getting the more underground classics out there.
This one fell into the overplayed, too commercial bag at the time, however 16 years on, it feels apt to start posting some of these tracks now.
They are still very much PCCs and very certainly massive back in the day.
This has a big Sasha track often dropped at Shelleys in Stoke - what a club that was!
Love it or hate it, it is certainly a great track.
His last few new tracks have marked a move to quite a different style to his more traditional classic house for which he is so renown for several dacades.
However, it still retains that great Todd production and most certainly bangs.
This comes with a fierce drum roll and some serious house beats.
It's been around 15 years now, but it still sounds right on the pulse.
Of course, homage must be paid to the original inspiration for this dating back to 1979 and Millie Jackson's – We Got To Hit It Off (which I posted on the blog a few months ago).
That's the beauty about dance music - always borrowing, sampling and re-working to create something different and reinventing.
There are loads of different remixes of this and the Original takes some beating.
That said I think this version which actually came out 6 years later is probably my fave.
PVD just creates something which makes the oriuginal even better (and much longer - which is a huge bonus).
Just an epic, epic trance classic.
I think the reason I've not posted it before now, is that I wanted to check through all the remixes to try and determine which is the best, and here you have it.
I posted another track from this 12" recently and this is another superb track from it.
Dating back to 1991, this was before mash ups became a thing and was probably one of the earliest types.
I think the reason I like it so much is because the mash up features one of my favourite tracks Kites by Ultraviolet as well as India's - Lover Who Rocks You. Both great tracks in there own right and both already posted.
This blend though is just full on and right on the money.
Brings back some great memories of the epic days of the early 90's.
Morales and Mariah are like a match made in heaven.
Mariah's amazing vocals and Morales superb remixing have combined on so many tracks and they are always brilliant.
Right back to the first Mariah remix (Dream Lover) he did in 1992 where he requested that Mariah re-performed her vocals, which was unheard of at the time.
This is very much in the same tried and tested formula, Mariah's honey coated vocals and Morales fierce percussion and delightful piano.
Vocal house music at it's best.
Mariah Carey - Can't Take That Away (Mariah's Theme)
How remiss of me to forget that Dave Ball was also one half of the Grid (as well as one half of Soft Cell), working with his partner in crime Richard Norris..
I always loved the Grid's remix work and also many of their own productions.
This was one of their most popular tracks, a bit of an earworm, but also one which was very infectious and massively played out in all the clubs by all the top Jocks in the mid 90's.
Still sounds great!
The horn/Sax sample in the track was just massive!
Another track which I can't quite believe I've not posted before.
This was a biggie back in the early 90's and so reminscent of all those classic "hands in the air" piano old skools tracks which we all knew and loved.
Still sounds great all these years on and just as infectious.
This is new and fierce with lots of great acid squelch coupled with an equally great dose of piano and some not so original "Brothers and Sisters" chants and vocals.
That aside though it has a really powerful feel and really does create some intense energy.
I just wish that piano could be extended a bit and kick on from there.
A job for a talented remixer out there to make this even more epic!
This is such an epic and widely known (and possibly overplayed) track which although first out in 1993 it was really the Three 'N One remix of 1997 which created the track which was a true dancefloor monster.
This was posted on the blog way back in 2009.
However, since then this track has been remixed by pretty much every remixer out there and there a literally hundreds of different versions including many versions from very high profile remixers.
Out of them all there are 3 that stand out in my mind, these all retain the awesome feel of the original but also bring something new to the track.
The Paul Rincon remix brings in some great piano and adds a fresh vibe.
The Michael Woods version slows it all down and just creates a beautifully chilled aura.
Whilst the Sgt Slick version produces a mash up with Rapture which delivers another great feel.
Although all are amazing versions, I still feel the Three 'N One remix remains "the one", but all great tracks nonetheless.
Love this track from 1992 which is anything but techno.
It is very much deep house and has a real vibe.
Very much in the great US house style which was the trademark of Todd Terry and Tony Humphries.
This track has big similarities with a lot of Todd Terry tracks and indeed he did a remix of this, but I have to say I prefer the Tony Humphries versions.
Still sounds raw and edgy and even the "techno" chants still sound great.
A really vibey housey PCC!
I've also posted a non-vocal version which is great if you don't like the vocals.
Another stunning new track from the Keinemusik stable.
It was the closing track of their recent Coachella set and whilst the set in itself wasn't overall impressive, this track was certainly a key stand out.
It has such an all encompassing vibe which just soothes you and then the piano is so hauntingly beautiful.
A really great track once again.
Reznik, Good Guy Mikesh, Keinemusik - One And Only
Amazed that I haven't posted any Soft Cell on the PCC blog to date.
Well this one goes out to the uber talented Dave Ball who passed away this week.
Probably the lesser known of the combo that made up Soft Cell as Marc Almond was very much the focal point of the group.
Those guys were very much at the forefront of dance music for many years and one of the early exponents of Ecstasy many years before it hit club culture, through their acquaintance with the legendary Cindy Ecstasy who features strongly in this track with some lush vocals.
They made so many great tracks that I could have posted several, but although Tainted Love was by far their most famous, this is one of my faves.
I love the chatter in the track through, just class.
Marc: When I first met you, you looked a lot like Billie Holiday, that nude backless dress, the one with the sequins and the single white gardenia
Cindy: I was probably drunk, I had no make up on
Marc: Oh, but you had such style
Cindy: Oh really?
Marc: And those words you sang, and it was my life story
Cindy: It was mine too
Marc: I remember I drank too much and made a fool of myself
Cindy: You looked okay to me but, when you get like me then you know you're in trouble
Marc: I went to grab you and kiss you, but I thought you'd hit me
Cindy: Too bright baby
The whole track is just quality from start to finish.
A quality track from 1994 and another that never got played out in the clubs as much as it should have.
This should have been a lot bigger.
No surprise to know that Stonebridge were behind this remix which probably explains the bouncy piano vibe, which goes down a treat when combined with Sabrina's classy vocals.
I don't know why, I don't know why?
Sabrina Johnston - Satisfy My Love
(Johnny Boy's Monday Full On Mix)
The House Factor mix is also pretty tasty and well worth a post.
Lots of chunky piano in this one, which is also Stonebridge under their Swemix alias).
Quality track from 1997 courtesy of a quality Disco Citizens remix (weren't they all).
As good as Chicane were I always preferred Nick Bracegirdle's work under his Disco Citizens alias as it always felt a little bit more underground and less commercial.
As well as a good remix this also has some fine vocals from Sonya Madan probably better known as the lead vocalist in 80s Britpop band Echobelly.
I'm quite probably risking my credibility here, but who cares.
I really like this track and think it just about deserves it's position on the PCC blog.
Yes, it's as cheesy as hell but it does sound really great and would definitely go down a storm in a club if dropped at the right time.
This track also possibly holds the record for the oldest on the PCC blog with the original Frankie ialli version dating back to 1967 (almost 60 years ago - Wow!).
It was given a Disco revival by Boys Town Gang in 1981 and then Jimmy revamped it as he did with many 80's disco classics.
Not quite as powerful (or popular) as Diddy's remix of Atomic, but a cracking remix all the same.
Blondie was one of my first music influences and I played Parallel Lines to death in late 70's as a youngster (yes I even had great taste in music as a 8 year old!!).
This remix is from 1995 and captures all the essence of the original with Debbie's superb vocals, but also provides a pretty powerful dance groove.
Fast tempo from the start it keeps pounding along and then increases the appeal as it starts to add some great ethereal feel towards the end of the track.
Loving this a great new track from Ten City who have been producing great house music from the very beginning of the house era way back in the late 80's. Now that is longevity.
It's amazing to think that there first track Devotion was released in 1987.
That's almost 40 years at the top of their game, when most dance acts are lucky if they last 40 weeks let alone months and most certainly not years.
Respect to Ten City.
About the track well it's an absolute belter - laden with piano from start to finish and a high tempo grrove that just bounces along with some great lyrics and of course some delightful vocals from Byron.
A real quality piece of house music (maybe a touch on the commercial side), very lively and entertaining.
Possibly a tad short at just under 4 mins, but I'm sure new remixes will come in due course.
Get on the flow, come on let's go!
Come on let's have some fun, let's party everyone!
I love all those New Beat tracks and when mixed and blended with all the house and Balearic tracks from that era they gave Acid House it's key ingredients.
Simplicity but done so well and still sounding great almost 40 years on.
Another quality track from Just Jack, love his stuff always on point.
Along with Mike Skinner (aka The Streets) they really helped to change the face of rap.
That whole style they produced was unique fresh and just felt very authentic, very matter of fact.
Here are two great versions which if I had to choose I'd probably opt for the Trophy Twins Mix (only just), as it is a touch more dancefloor focused where Ashley's version is more jazzy (but still great!).
Both very worthy of PCC status!
It's a long way to come from the Dog N' Duck Karaoke machine!
Great new track which has been a key feature of recent Keinemusik sets.
It's very much in the style we have come to expect with a gentle chilled build up and then explodes with some amazing piano chords which just feel so good.
These tracks just put you in a place and create instant adrenalin rushes.
Why do you dance, why do you move, why do you groove?
Reznik, Jesse Boykins III - Cloudy Eyes (Dance Tonight)
A really great new and very different remix of the Ms Bush classic.
The vocals are not dissimilar to Pink Floyd's - Another Brick In The Wall", but it's the deep progressive house vibe around the track which is really great.
It touches on the Afro House vibe, but is quicker and more pounding.
This one comes from 1999 when trance was at it's very peak.
I think this review from Discogs by Wizhard sums it up very nicely
Higher is one of the finest work of the legendary Laurent Veronnez.
A perfection of progressive trance, it's just impossible to stay insensitive to this one, it brings so much emotion to your ears...
A truly artistic piece that begins with a splendid aerial instrumental break of 3 minutes before kicking in and evolving to a shattering lead sequence.
Then the tracks starts its blossoming and reaches its final state of total bliss with gorgeous piano chords and a Balearic guitar riff...
Maybe this is what it feels to reach the heavens of the sky?
Only just come across this, although it is over 5 years old, (Oops - so much for the PCC blog being at the forefront of fantastic dance tracks (as well as PCCs from back int'day).
I have to say it is one of the best tracks (of it's type) that I've heard for many years.
It is very much a cross between Joy Division/New Order and Depeche Mode - with influences from each of those.
Superb vocals, great electro synths and the starts and drops just like many great Depeche tracks.
Probably not overly dancefloor friendly but could be used effectively as an opener or set closer!
I would like to find the answers I was always rudely denied!
Just lovely - a must for any Depeche fans out there.
Really surprised that I've not posted this yet at this was a huge fave back in the day and a perfect last track of the night selection.
First released in 1991 it is just such a great track with some sumptious vocals from Nicole Williams.
More indie dance than pure dance, but as mentioned such a great track for last of the night and all joining in unity. I remember it being played last track at Cream once in the early 90's.
Still sounds amazing and it should have been much bigger than it was.