Azzido Da Bass ‎– Dooms Night (Remixes)

Label:
Club Tools ‎– 0066810 CLU
Format:
Vinyl, 12", 33 ⅓ RPM
Country:
Released:
Genre:
Style:

Companies, etc.

Credits

Notes

P+C: 1999 Edel Records GmbH
Made in Germany by Optimal.
Mixed @ Massive Studios Hamburg. Published by MCA-Polygram Songs and Cyclus Musik Verlage.

B1: Mixed @ Electro Island for Time Tools Production Germany.
B2: Mixed @ Massive Studios Hamburg.

Barcode and Other Identifiers

  • Barcode: 4 009880 668108
  • Rights Society: GEMA / BIEM
  • Label Code: LC 04923
  • Matrix / Runout (Runout A Side): B925563-01 A1 MK
  • Matrix / Runout (Runout B Side): B925563-01 B1 MK

Other Versions (5 of 43) View All

Cat# Artist Title (Format) Label Cat# Country Year
006671-0 CLU Azzido Da Bass Dooms Night(12") Club Tools 006671-0 CLU Germany 1999 Sell This Version
AZZID 01 Azzido Da Bass Dooms Night (Norman Jay Remix)(12", S/Sided, W/Lbl) Not On Label AZZID 01 UK 2000 Sell This Version
none Azzido Da Bass Dooms Night(CDr, Promo, Par) Frenetic Music none UK 2008 Sell This Version
ADICT081CD Azzido Da Bass Dooms Night(CD, Maxi) Addiction Records ADICT081CD Australia 2000 Sell This Version
F2A 23T Azzido Da Bass Dooms Night(12") free2air Recordings F2A 23T UK 2006 Sell This Version

Recommendations

Reviews Show All 3 Reviews

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ian_s

ian_s

January 24, 2015
Timo Maas was only paid £1,000 for the remix.
budnik

budnik

October 11, 2007
We all know the drill here, leave the other mixes and lets talk about Timo Maas' masterful reworking of this otherwise insipid track.

Firstly, we all know this Timo's remix. It's so different, so twisted, so f***ed up and packs so much of a punch that you just cannot help but dance to it. The drums are very punchy and pack a killer groove to accompany that oh so beautiful warping bassline. When mixed into, the crowd knows what coming, that "Wub-wub" comes filtering its way through the first breakdown. This is pretty much a siren for all to get on the dancefloor. This goes on for about a minute gradually picking up pace bringing the club to bursting point. It then filters down to some keys. All of a sudden a few scratches latter that amazing bassline and groove laden kick drums drop to drive the place bananas. I witnessed a stack of DJ's play this at 'Crasher back in 1999 and it rocked a few of the festivals the following year.

I think I heard Judge Jules play it first as it took a while to break through and for people to understand it's genius. A few of the Trance and House jocks smashed it, when one day, UK Garage DJ E.Z heard it playing in HMV and asked an assistant what it was. He bought a copy and tried to hide the label detailing so as noone knew what it was. It didnt take long for someone to ID it and before you knew it, this tune was all over the urban music pirate radio stations too. A tune that really does cross the boundaries like no other record has that i can remember.

I remember reading somewhere that Timo got paid about £1,500 to do this remix. He originally submitted a techier rub of the tune but the label weren't happy with it. Timo took this as an insult and decided to make the most f***ed up, evil tune he could so that the label would be forced to use the first mix he submitted. This was the result! Someone should piss Timo off some more, as i dont think he will ever top this production. This just doesn't get boring and still sounds ultra fresh. A truly stunning remix and exemplifies how powerful and creative the remix can be. It also raises some interesting points about remixes; when does a remix become your own track? what would have happened had Timo kept this for himself? Surely Timo deserved a bigger payout for essentially making this a hit? Surely Timo deserves SOME credit for this track? but he didnt, shortly after he declared he was not going to do remixes anymore.

Top quality tune and one of the essential releases over the last 20 years.