Zee* ‎– Dreamtime

Perfecto ‎– PERF122T, Perfecto ‎– 0630-14880-0
Vinyl, 12", 33 ⅓ RPM

Tracklist Hide Credits

A1 Dreamtime (Quivver Vocal Mix)
Remix – QuivverRemix, Producer [Additional Production] – John Graham
A2 Dreamtime (Quivver Vocal Dub)
Remix – QuivverRemix, Producer [Additional Production] – John Graham
B1 Dreamtime (Shaker's Full Vocal Remix)
Remix, Producer [Additional Production] – Pete 'Shaker' Bones*


Barcode and Other Identifiers

  • Barcode: 7 0630-14880-0 3

Other Versions (5 of 7) View All

Cat# Artist Title (Format) Label Cat# Country Year
PERF122CD, 0630-14879-2 Zee* Dreamtime(CD, Maxi) Perfecto, EastWest PERF122CD, 0630-14879-2 UK 1996 Sell This Version
ORA 2071-2 Zee* Dreamtime(CD, Maxi) Overdance! ORA 2071-2 France 1996 Sell This Version
ORA 2071-6 Zee* Dreamtime(12") Overdance! ORA 2071-6 France 1996 Sell This Version
SAM1823 Zee* Dreamtime(2x12", Promo) Perfecto SAM1823 UK 1996 Sell This Version
PROT 107 Zee* Dreamtime(12") More Protein PROT 107 UK 1995 Sell This Version


Reviews Show All 2 Reviews

Add Review



September 1, 2011
edited over 7 years ago
Lord knows what the back story was to this track - the inlay credits list Boy George and Mike Koglin as co-writers and there's an original version that never even made it onto the vinyl release, with only a radio cut being released on the CD single. Along with Sasha's Be As One this was one of the first progressive house hits to abandon the garage-influenced black vocal style in favour of the breathy white female vocalist, perhaps making a sea change when the emphasis began to switch from progressive *house* to progressive *trance*. Certainly, the radio edit sounds like an early prototype for the vocal trance anthems that would dominate the UK pop charts a few years later. What makes this track more interesting than the dross it preceded is the lyrical content. Rather than banal metaphors about love/MDMA, this song is actually quite a cold rumination of the regret that follows a break-up - hardly the feel-good message you'd expect of a peak time dancefloor record.

Of course, it's all about the massive Quivver remixes that utterly dominated club play. Sasha and Digweed pushed them up a level by chaining the dub and vocal together, and now it doesn't feel right to play one without the other. There was something about John Graham's remixes from this era - he would invariably put the original vocals through a very similar formula of stripped back percussion, punchy basslines and sweeping pads and yet it always did the damage. If you listen to the radio edit you'll notice the original vocal performance is doubled in different octaves, yet the Quivver mixes only use the higher octave, emphasising the chilly bitterness of the song's content. Combined with his simmering acid lines and spine-tingling chord progressions, the result is a true floor slayer. This tempering of hedonism with melancholy is the core tension which potentially raises dance music above disposable good-time party ephemera and into the realm of resonant and meaningful artistic statement. It reminds us of why we seek to lose our minds and dance all night in the first place, a contemplative undercurrent to the dry ice and the pills that, in my opinion, lies behind almost all the great club records, particularly the vocal tracks.