Derrick Carter ‎– Pagan Offering

Pagan ‎– PAGAN CD1007, Pagan ‎– PAGAN CD 1007
CD, Compilation, Mixed

Tracklist Hide Credits

1 Swayzak Lo9ve
Written-By, Producer – D. Brown*, J. Taylor*
2 Attaboy Solid Space Business
Written-By, Producer – Alec Greenhough, Paul Ingall, Si Brad*
3 Dino & Terry Wired
Written-By, Producer – Dino & Terry
4 Freaks Mr. Roachclip
Written-By, Producer – Justin Harris, Luke Solomon
5 Presence Better Day (Presence Vocal Mix)
Producer – Charles WebsterVocals – Steve EdwardsWritten-By – Charles Webster, Delroy St. Joseph
6 Terry Francis Three Point Five
Written-By, Producer – Terry Francis
7 Maurice Fulton I Want To Talk (Xpress 2 Secondary Skool Mix)
Engineer – Mark McGuireKeyboards, Trumpet – Uschi ClassenRemix, Producer [Additional] – X-Press 2Written-By, Producer, Arranged By – Maurice Fulton
8 Souledge* (Always Wid) Deepump
Written-By, Producer – Carl Finlow*, Elliot Eastwick, Miles Hollway, Ralph Lawson
9 Salt City Orchestra That Pagan Thing
Written-By, Producer, Arranged By – Elliot Eastwick, Simon Bradshaw
10 Maurice Fulton I Want To Talk (DJ Q Remix)
Remix, Producer [Additional] – DJ QWritten-By, Producer, Arranged By – Maurice Fulton
11 Paul Hester After Hours
Written-By, Producer – Paul Hester
12 Presence Future Luv (Herbert Did This Mix)
Producer – Charles WebsterRemix – Mathew "Done That" Herbert*Vocals – Steve EdwardsWritten-By – Charles Webster, Delroy Joseph*
13 House Of 909 The Main Event (16B Remix)
Remix – 16BRemix, Producer [Additional] – Omid NourizadehWritten-By, Producer – Martin Howes, Trevor Loveys



Track 8 is listed as Wormhole but is actually (Always Wid) Deepump.

Comes in standard jewel case with cardboard slipcase.

℗&© 1998 Ark21/Pagan Records

Barcode and Other Identifiers

  • Matrix / Runout: 2163-01PAG MIXCD64 PROSOFT LOGISTICS I 8063007
  • Mastering SID Code: IFPI L055
  • Mould SID Code: IFPI 6N02


Reviews Show All 4 Reviews

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August 5, 2015
edited over 3 years ago
These tracks are a totally different sound to Derrick Carter's usual house music styles.
This mix is deep, throbbing, groovy, funky in the right sense and a very UK based Tech House affair. It isn't cold, sterile and funkless like a lot of functional club music became, it has warmth and personality. Pagan was one of my fave labels from the mid-late 90s and I still play many of their tracks now to join the dots between the old and the new.
This was the stand out commercially available mix comp for me back in 1998 and has stood the test of time.
Hats off to Richard Breeden who ran Pagan, the artists, remixers and Mr. Derrick Carter.


April 7, 2011

Amazing mix, deeper than Derrick usually goes, but it works perfectly. This is a headphone mix, for going for a walk or sitting on the train. A great showcase for Pagan's catalogue.


March 10, 2010

I'm also surprised about average rating of this release. This is one of the most underground mixes ever came out from UK, by my opinion.

However, it is one of those releases that you appreciate more after couple of listenings but on first glance.

What I find the most attractive about this mix is that Derrick Carter spinned untypical tracks for his kind of vibe (selection has been made by Richard Breeden) and therefore added that extraordinary and unique mixing skill over classical UK tech-house. No regular DJ of this style of music would mix these tracks the way Mr. Carter did.

This is exactly where madness of Chicago met dope UK beats.


January 16, 2010

I'm a big fan of this mix and when it was first released it lived in my CD player (thus making Daft Punk's Homework homeless). At first I was surprised that the rating was pretty average, but then I guess if you're not a fan of Pagan's releases then that's a negative, and the fact that this mix at times has a more techy than housey feel, well that's going to put another demographic off it.
To me it's a perfect summation of what eventually became known as Tech House and is a far better example than Terry Francis's Architecture which came out in the same year (although Vol. 2 is pretty good).
Using Pagan's back catalogue as his source, Carter sublimely mixes his way through some of the choicest cuts on offer.
Swayzak, Attaboy, Terry Francis and Paul Hester's offerings feel the most tech inspired, whilst Dino & Terry, Salt City Orchestra and Freaks offer up some fine housey funk fair. In between all this tech and house business Carter mixes and blends with aplomb; long and smooth mixes that only serve to enhance the mix.
I remember viewing the Tech House 'phenomenon' with amusement as house and techno sort of merged (even though they've had a symbiotic relation since the mid 80s). Progressive house fans seemed to enjoy the new genre and as time has moved on the peeps into that all seem to be amongst the 'minimal' lot now (who sometimes have the audacity to tell me that Robert Hood 'isn't minimal'!). Anyway as Tech House was in its infancy there was a brief period were DJs like Derrick Carter pulled commercial mixes like this out of the bag; thoroughly enjoyable tech-inspired tunes mixed at 120bpms with a funk and flair that people like Mike Grant, Theo Parrish and Moodymann have been doing for donkeys.