The box artwork here is double-sided - the front gives this as the "2001 World DJ Championship" featuring "The History of DMC World Champions" while the back has it the other way around: the History featuring the 2001 Champs. This "double A-side" billing is entirely justified as you get two great features on the DVD.

The first feature gives you all the competition action from the World Championships final in 2001, with some of the most talented DJs from around the world, winners of national heats from fourteen countries across four continents. The skills on display are awesome - their hands a blur of motion across the vinyl, faders and other controls - crafting fast and complex rhythms and performing complicated crossfader manipulations. It's interesting to see them using stickers not just to mark exact cue points but also to create custom locked grooves and to produce noise effects as the needle trips over them.

Plus One delivers an incredible competition-winning set, taking the stylus-abuse thing to the next level - not only tapping the raised headshell like a Morse code key but even rubbing the needle radially across a wide run-out groove to produce yet more abstract sound effects. As a Brit myself it's great to watch a DJ from the UK win for the first time in over a decade, especially since I saw him take the national title in person earlier in 2001.

Props also to Kentaro who ends his set with his "Jah Jaka" segment, cutting a stickered record of electric guitar tones to make an insanely rockin' riff so catchy that I find myself humming it sometimes; it's no surprise that he went on to take the world title the following year. I must also mention Coki who ends up playing alongside a small radio-controlled doll scratching on the other deck!

I have to admit that I bought this DVD primarily for the second feature though. The retrospective of World Championship winning sets from 1987 through to 2001 is a fascinating document of the evolution of the turntablist's art. In the earlier sets there's more of an emphasis on using different body parts or objects to manipulate the vinyl and crossfader (nose, foot, elbow, pool cue, etc!) while in the later years the focus is on ever more intricate and innovative techniques. However, that said, you still see Ca$h Money and Cutmaster Swift doing some impressively quick beat-juggling segments back in the 80's and, conversely, Craze still throws in a little old skool behind-the-back or under-the-leg fader action in all three of his title-winning routines ten years later.

My four personal highlights are: DJ David ending his 1991 set by doing a handglide on one of the turntables while the other - at a safe distance - plays the Jungle Bros 'I'll House You' ("round and round and round"); A Trak taking the title aged only 15; Cutmaster Swift spending twenty seconds at the start of his set just dancing like a nutter (much to the delight of the crowd) while the amen of Mantronix 'King of the Beats' drops over Alyson Williams 'Sleep Talk' and finally DJ Noize composing a sentence using four chunks of the rap on Method Man & Redman 'How High' inviting the previous year's champion (by name) to suck his dick, whilst holding the tempo of the beats, and then following this with some wonderfully musical tweak scratches over Newcleus 'Jam On Revenge'.

It's a pity there's no footage from the '85 and '86 finals (also one of the Dream Team's sets is absent) but that's a minor complaint. This three-hour DVD is a fantastic showcase of some astounding skillz and if you only buy one video of turntablists in action it should be this one.

You have to commend St Etienne for their admirable choice of mixers on this release where even the original version - an upbeat pop number with pretty, poetic and ultimately quite poignant vocals - is mixed by Rick Smith of Underworld.

The first remix comes from the Chemical Brothers - around a year before ditching their earlier Dust Brothers moniker - with midtempo breakbeats, deep bassline and some great sections of melodic distortion (I guess you need to hear it yourself to understand what I mean there).

Next up is David Holmes, accompanied by his regular Sabres engineers, with a combination of bassline, percussion and acid-line that sounds not unlike Hardfloor. He recorded a lot of long (10+ minutes) techno tracks like this around 1993/4 but his mixes of 'Come Into My Life', 'Smokebelch II' and particularly his own epic 'Johnny Favourite' on Warp from the same period are more effective.

The single saves the best till last. I'm sure that some fans of nu-skool glitched-out Autechre will dismiss their remix here as being too pretty but if, like me, you love the IDM masterpiece that is their 'Amber' LP then you really need to check this out. The exquisite composition takes an entrancing metallic percussion loop and adds elegant tones and a single repeated syllable. The central ambient breakdown is so long that whenever I listen on a Walkman I always think that I must've lost myself in the music and not noticed the break and surely this must be the outro now because the break can't be this long... but then finally the percussion drops back in, a whole three minutes later. Quite sublime, and easily one of my favourite Autechre tracks.

I must confess that I only picked this up cheap second-hand, quite some time after its release, mainly for the sake of completeness in my Underworld collection; I had no idea what to expect from the content but just a couple of tracks into my first listen I found myself thinking "I'm really glad I got this!" A far cry from the majority of Underworld's previous contributions to movie soundtracks - solid dancefloor tracks like 'Born Slippy .Nuxx', 'Dark Train', 'Moaner', 'Cowgirl' and 'Pearl's Girl' - this is effectively an atmospheric and ambient LP from the duo, working here in partnership with Oscar-winning composer Gabriel Yared. The pieces here are thoughtful and often quite beautiful, led by acoustic guitar, strings or piano (as a fan of Harold Budd and Roger Eno I particularly like the piano-ambience). The compositions are mostly beatless, although some have gentle percussive elements, and are without lyrics, with only occasional vocal sounds on a couple of tracks; they're also sequenced together smoothly, running for just under an hour in total and giving a very listenable whole (in contrast to some soundtrack albums).

Anthony Minghella, the movie's writer/director and a frequent collaborator with Yared, provides five pages of sleeve-notes about the project and cites Underworld's 2002 album-track 'Ess Gee' as being a major influence on his screenplay. Soon after buying the CD I made a point of renting the movie to hear the music in context. Minghella's commentary on the DVD provides some further insights - he explains that he has to "find the sound of a film" before being able to write for its characters and that he wanted the score to create a "restrained and muted world" with a "modesty" to it. He reiterates the importance of the "uninflected" sounds of 'Ess Gee' during the writing process and how it led him to contact Underworld. Initially he intended them to work only as producers but evidently they started collaborating on actually making music with Yared almost immediately, despite his usual reluctance to work with other musicians. Minghella describes the end result as being "insidious, beautiful, careful [and] delicate", liking the way that it "doesn't tell you what to think", adding that it's the only soundtrack from his film-making career that he listens to away from the movie - and I'd recommend doing the same to appreciate it fully.

Babe Ruth was a five-piece rock band formed out of a group called Shacklock (named after their songwriter/guitarist Alan Shacklock) in Hatfield, England, in 1971 and they recorded this, their debut LP, the following year at EMI's Abbey Road studios. Alongside interesting covers of Jesse Winchester ('Black Dog') and Frank Zappa ('King Kong'), the record's opening song 'Wells Fargo' displays the band's recurring obsession with using Hispanic/western themes in their work. Another example of this and the stand-out track on the album is 'The Mexican' which begins with a delicate Spanish guitar intro and then has original Babe Ruth vocalist Jennie "Janita" Haan beltin' out lyrics about a soldier serving under Santa Anna (during the 1836 Texan Revolt) before culminating in a big guitar riff borrowing Ennio Morricone's theme to spaghetti western 'For A Few Dollars More' (Babe Ruth went on to cover Morricone's 'A Fistful Of Dollars' on their self-titled third album); crucially the song also has a solid drum and bassline backing throughout.

Despite being by a British band, 'The Mexican' made its most significant impact in America - during the birth of hiphop in New York. In the early/mid 1970's in the Bronx the biggest dance parties were hosted by Kool DJ Herc, starting out in the rec-room at 1520 Sedgwick Avenue and later overspilling into the first outdoor block parties. Herc became number one by crate-digging in record stores so that he could play the most exclusive and obscure records that the radio stations (and other party deejays) didn't have (and he even concealed the labels to keep them secret). Whilst playing these he observed that many of the dancers (who he dubbed his "b-boys") would wait for the funky drums on the instrumental break of a record before going wild on the dancefloor and he struck upon the idea of extending the break by either juggling between two copies of the same song (notably looping James Brown's "clap yer hands, stomp yer feet" line from the album remix of 'Give It Up Or Turnit A Loose') or mixing together several different "break" tracks. Herc named this part of his set the "merry-go-round", unaware that he'd simultaneously pioneered the concept of the "break-beat" and kickstarted the entire hiphop movement!! ...and the link to Babe Ruth is that one of Kool Herc's favourite vinyl exclusives to play in the merry-go-round was 'The Mexican'. So, despite having a killer guitar riff, powerful vocals and exotic lyrics, the track became famous in the Bronx because of its instrumental break - which the band would probably have described as its least interesting part!

The track became an NYC block party anthem and was a frequent influence when hiphop records started to get released in later years, for example seminal electro classic 'Planet Rock' rips the "Morricone bit" (around four minutes in) while 'Feel It (The Mexican)' by the Funky Four on Sugar Hill converts some of the other guitar parts into trebly brass and squiggly synth riffs, copies the percussion and uses the same lyrical metre (but different words). Although it'll never be as big as the Apache break (another "discovery" credited to Herc), the distinctive bassy Mexican break was used on several old skool hiphop tracks such as 'Africa (Goin' Back Home)' by Doug E Fresh, 'Prisoners Of War' by Organized Konfusion and 'On The Run' by the Jungle Brothers. All the original breaks tracks from the 70's are still just as popular today in the breakdance scene (although most of them were recorded by black American funk acts, not white British rock bands!) and Babe Ruth's contribution in particular is respected and revered as a classic. This explains why DJ Spitfire used the break and vocals throughout his intro tracks on the 'Strictly B-Boy Breaks' album in 2000 and I've even seen footage of a breakin' competition where not only does the deejay play 'The Mexican' during the final b-boy battle but the event is actually named after one of the lyrics: "Chico Got To Have His Share".

Elsewhere - outside the hiphop world - 'The Mexican' has inspired no less than three full cover versions: in 1978 the Bombers included a 12-minute disco work-out on their self-titled debut LP, in 1984 John "Jellybean" Benitez got Janita Haan on board for a freestyle interpretation that topped the Billboard dance chart and in 1999 German metallers Helloween recorded their take on the song for their compilation of covers entitled 'Metal Jukebox'. Another copycat track is the massive '88 warehouse anthem 'Dreams Of Santa Anna' by Orange Lemon (Todd Terry) which has a magical Morricone synth lead and a few sampled vocals (presumably taken from the acappella on the Jellybean 12"); Todd Terry's 'The Texican' and JD's 'Good Vibrations' also feature similar elements. The Mexican break can be found on one of the tracks on the Chem Bros 'Brothers Gonna Work It Out' mix album too.

The song's historical significance and classic status is evidenced by its various appearances on (non-rock) compilations, for example the legendary Grandmaster Flash included it on his 'The Official Adventures...' compilation on Strut and it's one of several hiphop-sampled 70's breaks tracks used on the Prodigy's 1997 'Dirtchamber Sessions' mix album where Liam plays a long section of 'The Mexican' and even extends the instrumental break hiphop-style. It's also included on the Big Apple Productions old skool breaks megamix on the 'Ultimate Lessons 2' compilation, again with the break looped (which is no mean feat if mixed live on turntables as the basic guitar-free drum break is only four beats long).

Obsessives (like me!) should also check-out Morricone's original whistled theme to Sergio Leone's 'For A Few Dollars More', the cover version of it by Material featuring scratches by Grandmixer D.St (available on the 1992 reissue of the 'Memory Serves' album) and the remix by Terranova with appropriately twangy spaghetti western guitar and a funky breakbeat (on the 'Morricone Rmx' compilation). Also listen to 'The Good, The Bad And The Dread' by Dreadzone which samples the whistling from the Morricone original.

Even as recently as a few weeks ago Babe Ruth's masterful 'The Mexican' is still cropping up - it was included as one of the unlockable songs on the (BAFTA Video Games Awards nominated) soundtrack to the new Sony PS2/PSP videogame 'B-Boy'.

Excellent outing from Loop Guru in ambient mode - full of radiant ambience (probably inspired by Brian Eno's 'An Ending' which gets a mention on the sleeve-notes of Loop Guru's 'Amrita' LP) which is combined on tracks 1, 2 and 4 with long sections of hypnotic drums. This is all complemented by occasional additions of throat-singing, birdsong and gentle piano notes to create an entrancing hour-long journey.

For more of the same from LG check out the final track on 'Sus-San-Tics 5-10', the last half-hour on 'Duniya' and all of 'Catalogue of Desires Volume 3' or - for a similar trip but with a deeper mood and more ethereal percussion - try 'One Thousand Years' and 'All Our Ancestors' both by Tuu.

This is a handy collection of old skool electro and hiphop with a good set of classic tracks from throughout the 80's, although personally I'd have chosen the full vocal version of Young's 'Know How' over the instrumental. Less forgivable is the inclusion of eleven unfamiliar (and uneventful) tracks that are all copyrighted 1998 and licensed from Decadance - to themselves?! I guess the makers figured that a three-disc compilation looks more impressive and that new tracks are cheaper/easier to license but they really should've ditched the padding and made this a 2CD release. ...In fact, doing the maths, they could've fitted all thirty tracks onto two CD's anyway!

It was just last year that I finally discovered from a TV quiz-show that the voice of Charly, the cartoon cat from the "stranger danger" films, was provided by zany radio/TV funnyman Kenny Everett.

Despite being tucked away as a B-side, 'Your Love' became (and remains) a very popular tune in its own right. It's a great track; in fact I think the piano sequence three minutes in is one of the most beautiful sections in a dance track ever - so it's particularly annoying that DJ's often mix into the next record before or over that bit!

Old skool DJ's take note: purleeease mix out *after* the best bit on 'Your Love'! (and the same goes for Krome & Time's 'This Sound Is For The Underground' too!) Thanks. :)

'Enervate' is a simple but uplifting tune, renowned by some for its ability to rouse a flagging dancefloor. So presumably this is why Transa gave it a title that sounds a bit like "energize" and "invigorate" ...but if you check a dictionary you'll find that "enervate" actually means the exact opposite of those words!?

The choice of title may be a little odd but it's still a great track - with elements of the distinctive early Hook sound plus some of Transa's typically subtle but effective chord-shifty bits - so it's no surprise that 'Enervate' became the second track from the Webster brothers to get a big re-issue on Perfecto.

The excellent 192-page booklets that came with the Trance Europe Express compilations were always a rich source of information about the featured artists ...except in the case of Deadstock who appeared on TEEX4. Rather enigmatically their eight-page article consisted entirely of dark, tribal, graphic-novel-style illustrations and no text. Oh well, at least the book's contents page gave the three band-members' names which is more than Deadstock's CD artwork ever did!

Deadstock released a broad range of melodic techno that sits comfortably alongside Salt Tank and Orbital in the Internal back-catalogue. Highlights for me are the simple dub-techno of 'White Man'; the broken beats, deep bass and bubbling acid-line of 'Six-Sided Something'; the downtempo male vocals of 'Suite 303' (think Dubnobass-era Underworld) and the fluent layering of ambient synth, metallic IDM perc, echo-processed piano, subtle horn riffs and funky drum breaks on 'Fold Unfold Fold'.

Presumably 'Ferrari' was given this title because it samples the "I wanna hear them makin' some noise" vocal from the start of Shut Up & Dance's 'Lamborghini'!

The track reminds me of the B-side mix of 'Total Confusion' by A Homeboy, A Hippie & A Funki Dredd (unsurprising as 'Ferrari' was written by two thirds of HHFD) although the breakbeat-plus-simple-tranceline formula is much less effective here.