Dreem Teem

Garage mechanics

Interviewed by Bill and Frank at Radio 1, Feb 2, 2005

UK garage is a perfect example of how quickly DJs can breed a new kind of music. From an American style: the ‘Jersey sound’ of soul and gospel-inspired vocal house (also known as ‘US garage’ and associated most closely with DJ Tony Humphries), in just a handful of summers, British DJs selectively bred a uniquely British genre. Hot on the heels of drum and bass, from which it took much of its aesthetic and several of its producers, UK garage (or ‘speed garage’ as it was first called) took this American template, upped the tempo, swapped diva vocals for an MC, and added a taste for billowing sub-bass and super-crisp ‘chunky’ production.

The Dreem Teem are Timmi Magic, DJ Spoony and Mikee B. All were turned on by acid house, though Mikee has a longer history – he was decksman of hardcore rave stalwarts Top Buzz. The Dreem Teem were part of a wider group of DJs who nurtured UK garage, notably DJ/production duo of Matt ‘Jam’ Lamont and Karl ‘Tuff Enuff’ Brown, known together as Tuff Jam. Ending up on Radio 1, however, the Dreem Teem broke garage, originally ‘a London thing’, far and wide.

Garage had such a momentum that even as it was emerging it was already inspiring further evolutions. Two-step was formed when its four-to-the-floor rhythms were replaced by more funk-derived breakbeats, ‘grime’ came about when the MCs took centre stage, and when it looked back to the dub reggae and drum and bass of its heritage, dubstep took the floor. There’s also ‘bassline’ a reaction to two-step that took things back to the housier territory of its starting point… as if to emphasise just how fast the sands keep shifting.

Where did you grow up?

Spoony: Born in Hackney, spent most of my formative years in Stoke Newington.

Timmi: Leyton. There was a lot of influences from there at that time. Linden C’s from that area, Derek B was from east London, so they were inspirations. There were a lot of clubs playing ’80s soul.

Were you old enough to go when Derek B was doing Canning Town.

Timmi: Yeah. Bentleys was the place, Sunday night. It got raided, so yeah, we were old enough at that time.

Mikee: And myself, Mikee B. Bit older. Born in Jamaica, grew up in Hackney, Clapton, Stoke Newington. My music career started when I was at school. Washing cars, getting a bit of money and going to the record shop up the road and standing in the corner, with the big men. I suppose at that time I was about 10.

Timmi: How much were records at that time?

Mikee: I think the records then were… if I said ten shillings…? [laughter].

When were you born then?

Mikee: If I told you… 1957. I’m like 47 now.

And you started on a sound system?

Mikee: Yeah… that we threw together. Funky Express. We played over west London with all the big systems, south London.

What kind of music were you playing?

Mikee: Rare groove, soul, lovers rock, Studio One, Treasure Isle, all that kind of music really.

Emphasis on the reggae or the soul?

Mikee: More on… soul

And as DJ in Top Buzz you were playing loads of the big raves.

Mikee: ’87 to ’89, so much happened. Top Buzz, that was me, Jason K and Mad P the MC. We went through that stage of hardcore, and it changed from hardcore into like drum and bass…

Spoony: I remember listening to tapes of Mikee B before I was even old enough to go out. He was an absolute legendary DJ, but he’d just been under the radar. So to hang around Mikee was like being around Tony Humphries, except he was English.

“  I was on pirates from ’88, ’89. There was not too much presenting, it was all about music; there’d be 10 guys in the studio… ”

What were your first experiences of house music?

Timmi: I went to the Trip the first day it opened. Nicky Holloway. I went to the one before that…

Mikee: Shoom.

Timmi: Yeah, Shoom. Little Wednesday night. I went to one Shoom night, then a guy said there’s this new night starting up at the Astoria. By then I was already buying a few tunes, and the Trip, the Astoria, it blew me away, the whole attitude to what was going on. It was fire-eaters, jugglers, party animals. Then it was Spectrum on a Monday we used to go to, and Clink Street.

But I think the first time it really got me going on the DJing was going to Camden Palace, seeing the sort of unity between football hooligans, blacks, whites, and everyone raving. That inspired me to say, yeah, this is the sort of thing I could go to. Like Mikee I was into my rare groove, soul and a bit of reggae. And that was what changed me, more of a social thing, more than the music side of it.

Timmi: We used to do Dungeons in Leyton, that was one of the real underground clubs at that time. It really stood out, where it would finish at nine, then it would carry on till mid-day. Mr C used to play there, Rhythm Dr used to play there. Linden C, Rob Acteson, that little crowd.

The DJs that started Feel Real [long-running London house night]?

Timmi: Yeah. I used to play with those guys, Femi B, on the south coast. I should have actually fitted in with that crowd at the time, but I was too busy buzzin’ on the south coast.

Spoony: The funny thing was I didn’t actually used to go out. When people say the summer of love, I’ve got all the records from it, but I didn’t go to loads and loads of club events. I was totally in it for the music side, not necessarily for the scene and the rave side of it.

Weren’t you working at the benefits office in Hackney?

Spoony: I was collecting, buying records at Mr Music in Dalston, from my dear friend Daryl. And it just snowballed from there. But yeah, I was at the Jobcentre for seven years, I had a normal nine-to-five job, I was playing football. I loved my football, I loved my work, and the three had an excellent and perfect synergy for how I wanted to live my life. Had I been going out clubbing at the weekends I wouldn’t have played football. I’d have been too hungover to go to work. Work would have been arduous from Monday to Wednesday. As it was it was just perfect.

How did you guys meet?

Timmi: For us guys meeting up, in about ’94, ’95, we was on a pirate radio, you had Freak FM, and London Underground, which was where we met up. We took our career from there, which was the birth of UK garage.

How did you get involved with the pirates then?

Timmi: It was a natural progression. Coming into London there were so many DJs, the best way to get heard was on a pirate. And it’s a community, you’d get on with guys, you’d hear other DJs playing records. I was on pirates from really, really early: ’88, ’89, so you had all the name DJs who were just coming up: Kenny Ken, DJ Rap, a lot of the drum and bass boys. There was not too much presenting, it was all about music; there’d be 10 guys in the studio…

When were you drawn to the more garagey sound?

Spoony: When I joined I was very much known as the soulful house man on the station. And every now and again I’d sprinkle it with some of the UK stuff. I was definitely known as someone who would play vocals: vocal house and vocal [US] garage. It didn’t depend on the tempo, it just had vocals on it. A lot more soulful. And as time went on the tracks got a little bit funkier, little bit dubbier and the tempo a little faster. And the transition was a very smooth one.

Why were you drawn to that kind of sound?

Spoony: Because I guess I was brought up on music and songs and melodies so that’s what came naturally to me. The only thing that changed was the tempo. And then if I go all the way back to what my mum listened to: soca music, then she was brought up on uptempo music anyway, so this was just like our uptempo music.

The roots of UK garage are really when house music starts to split into different factions, different scenes.

Mikee: At the big raves you’d get everything: Carly Simon, Phil Collins, anything…

Timmi: Yeah just drop it in the middle of a rave, ’cos everyones buzzin’. But round about that ’91 stage you did get a definite definition, where you were either CeCe Peniston, or you were ‘Charly’ and the Prodigy. People either wanted it hard or they wanted the other thing. And the gulf was too vast. And that’s when it started to break away.

Timmi: Beginning of ’91 there was a split. Where you either went hardcore, or you went all US-ey. I went on the US path. Sterns [club in Worthing] kind of defined it. If you went to Sterns there were three floors. Top floor you had what now you’d call drum and bass: Dr S Gachet, these sort of people. On the ground floor you’d have Top Buzz, Grooverider, Fabio, Rap, and all the harder DJs. Carl Cox used to do his three decks. That’s where he first started to stand out, with his three decks mixing. Carl Cox, got to see him. ‘Is it really three decks?’ And then the middle floor Mr C, even though he played quite deep, not soulful, but he kept it not as hard. It wasn’t banging. And you had people like myself, Frankie ‘Shag ‘Bones, Femi B, Rhythm Dr, on the middle floor; Harvey from Ministry, Justin Berkmann.

Was there ever a defining moment when you were forced to choose?

Timmi: No. It was nice because people used to move around all the way. People appreciated mixing and they appreciated hearing tunes getting together. Not just what you were playing and who the DJ was, but how they were playing it. Cos no-one had actually become a superstar DJ yet.

So the middle floor had a good following, ’cos it was… more girls, and if you were downstairs you had a bit of Vicks on the back of your neck and weeee you was off. I moved away from that ’cos I liked to have a shirt that didn’t sweat so much. You could define the clothing as well. Those who wanted to hang upstairs, with the girls and give it some, and if you wanted to nut off you was downstairs.

But everyone came from the same starting point and stayed in touch with each other.

Spoony: Yeah, and the starting point is house music. And the others are effectively sub-genres. It would have been jungle-house music, it would have been garage-house music, happy hardcore house music, trance-house music. They’re all different divisions within house music. And people just decided they wanted it a little more soulful or a little bit harder, or a little bit more banging, or a little bit more percussive.

In the days of playing in a field, people would come on and play whatever: the big DJ would play the last set and ‘Pacific State’ by 808 State, and everyone would have their hands in the air. But as you went a few years later, it then started to split down. Happy hardcore had a massive scene, Fabio and Grooverider playin’ happy hardcore, but they were some of the biggest DJs around at the time. So everyone still managed to keep their identity, their reputation, but people were being known for playing different brands and strands of house music.

And once you had those splits, all the new bedroom producers started to push things further apart.

Spoony: Yeah, and I noticed it with the garage scene. Once you’ve got this new music phenomenon, someone sitting in their room says I like that one a little bit more than I like that one. And they’re gonna make that kind of record. Then you’re gonna have an influx of new producers making that kind of music. And the same goes for every single one of those genres along the line.

Over a matter of six, eight months you’re gonna get so many more soulful vocal bumpin’ kind of tracks because of the new influx of producers. Before you know it you’re playing an hour and a half of a particular type of music. ’Cos the music is now there for you to play.

What do you think the roots of the UK sound were?

Spoony: Funnily, in a paradoxical kind of way, the US. Because you had people like Masters At Work: very sexy percussive with very much a Latin influence. Whereas Smack Productions, Todd Terry or DJ Disciple were making dubbier, clubbier records. And that sound was very much embraced by the UK DJs who thought that the soulful vocal house was a little bit too smooth for ’em.

You’d pick up a Strictly Rhythm record, some people would play side A with a vocal, some people would play the other side with the dub vocal edit, some people would play the straight up dub. So stuff like Barbara Tucker ‘Stay Together’, four different DJs would play three or four different mixes of the same record.

So there was always a difference between the sound that UK DJs would prefer, compared to someone like Tony Humphries

Spoony: Yeah, because I think the UK clubbers wanted it a little bit more jumpin’, a little bit more pumpin’ than someone like Tony Humphries. I don’t know what it is with us here, maybe the cosmopolitan nature of growing up in London, we can listen to a little bit of Latin, listen to a little bit of something with a tougher edge, little tougher sound in it, because when you walk down the street it could be black, white, Asian, Middle Eastern, and we eat like that as well. We see those programmes on TV, and without realising it means that when you hear bongos or a Spanish guitar it doesn’t sound as alien as if we lived in very mini-societies like the States.

Even DJs like Ricky Morrison, who again would play on the same bill, he would still play a little chunkier than Tony Humphries, and then when you had the next wave of UK DJs, like the Dreem Teem and Matt ‘Jam’ Lamont, they started playing chunkier still. Ricky Morrison might have played half chunky. Dreem Teem or Matt ‘Jam’ Lamont might have played 75 percent chunky. You’d then get DJs who’d play 100 percent chunky and then DJs who were so chunky you’d have to start calling it something else. It’s now morphed into something else.

What would you regard as the first UK garage record?

Spoony: I think rather than try to put my finger on the first I would say the label Nice ’N’ Ripe was immediately identified with this new sound. There were other records that were sprinkled about but when you saw a Nice ‘N’ Ripe record, it was them. It was Grant Nelson, Tony Power, very much responsible for what happened as far as UK garage goes. He was heavily influenced by what was going on Stateside, but as far as bringing the sound here… Whether Christopher Columbus is the greatest discoverer or the greatest pirate depends on which side of the table you’re sitting on.

Timmi: One of the first tunes that could define it was a tune on Strictly [Rhythm] called Logic ‘Blues For You’, and Grant Nelson done a mix, on Nice ’N’ Ripe, which was exactly the same tune, just had different sounds, a lot more bright, the British sounds: the sounds that you’d expect in a bit of jungle and drum and bass. Even though it was still housey, it was a lot brighter and a lot heavier on the dancefloor. And that for me is the defining tune. ’Cos there were a lot of DJs that were still trying to make US-sounding tunes, but they were British DJs, and it was like come on, give it a little twist. What we used to do at that time, we defined US against UK, because most of the US DJs would play the vocal mix, but we’d turn it over and play the dub mix and pitch it up.

Who were the Americans at the same sort of time?

Spoony: Terry Hunter, Eddie Perez and Smack Productions, the Mood II Swing boys, Basement Boys. They were all making those records. The bumpier side of vocal house garage.

“  The end of ’95 was the defining time for promoters. They said hold on a minute, we’ve been booking US DJs for thousands, let’s try and book these guys instead. ”

Was there a nightlife split as well?

Well the other thing that defined it: in ’93 we couldn’t get any work on a Saturday night. Ministry? – oof, out! ‘But I got credentials!’ ‘No!’ You’d go to Heaven, Heaven used to have Grooverider and Fabio downstairs… and the garage room? ‘No! No!’ Feel Real? I knew all the guys, I was like, ‘C’mon mate, give us a go.’ ‘No, no, no!’ So our time became Sunday afternoon. Sunday afternoon was a really important time for those who wanted to go out after Ministry, like 9 o’clock, would go to a pub called The Castle, in Elephant and Castle. Or the Frog and Nightgown.

Mikee: I saw Finbarr’s missus yesterday as a matter of fact. He used to do the pirate club.

Timmi: The Pirate Club’s another one. That’s from the early days though. The Frog and Nightgown was probably quite defining. Walked in there one day there was Matt Jam Lamont DJing there, Mickey Sims, DJ Dominic. And their sound was a lot more moodier, a few gangsters, it was an older crowd, loads of birds, a lot of brandy…

Mikee: …and champagne

Timmi: …and it was just different. It was a calmer night from a Saturday night.

Had they all been to Ministry?

Timmi: Some had, but some started saying we’re not going to Ministry, we’re going to start at the Frog and Nightgown. That would go on to around four or five in the afternoon and then people would leave and go to the park in Kennington. I thought, this is me, I’ll have some of this. You needed to find a home.

The end of ’95 was the defining time for promoters. They said hold on a minute, we’ve been booking US DJs for thousands, let’s try and book these guys instead – who are now getting massive crowds. Mikee’s doing a rave called Moschino, at Bagleys, and loads of little things started cropping up, middle of ’95. We were still on pirates, we hadn’t got together till end of ’95, beginning of ’96. We got together as the Dreem Teem.

Which pirates?

Timmi: We were on London Underground and Freak FM, but London Underground was the one, ’cos the amount of DJs… most of the main DJs were on it. You had Norris ‘da Boss’ Windross, you had Dominic, you had Mikee, Spoony and myself, Ramsey and Fen, Jason K, DJ Hermit, a lot of the earlier DJs, the respected DJs in London.

So London Underground was where the sound coalesced on the radio?

Timmi: Yeah. I’d say that was where it really built up on the radio. That just woke up alarm bells everywhere. The DJs are inspired now, the producers are inspired to make the music. The MJ Coles are now coming in, and that’s when you started to get a nice infrastructure of DJs, producers, promoters. Sun City, La Cosa Nostra, The Arches, the Zoo boys started doing some stuff. That’s when it started to expand, and a few of us went to Kiss FM. Karl ‘Tuff Enuff’ Brown, Matt ‘Jam’ Lamont, brilliant producers at the time. Inspired a lot of the UK garage of the time with their sound.

When Mixmag and DJ first wrote about it they called it ‘speed garage’. That wasn’t anything that anyone on the scene was using?

Spoony: No.

What did you guys call it?

Spoony: We were just calling it garage or UK garage.

“  You were just hit by hundreds of people dancing 500 percent. No-one looking around, they’re just in there grooving away. And as a DJ that’s all you can ask for. That’s everything. ”

So when did you think here’s a completely new style of music?

Spoony: I think before we could say a totally new form of music was not really until the whole MCing thing came onto it. That was when it was rubberstamped that this is now English. This is revolution not evolution.

Where did the whole MC thing come from.

Spoony: You grow up in London you’re exposed to lots of musical tastes and cultural tastes. Generally, you grow up as a young black kid, you’re gonna hear a lot of reggae, lot of sound systems: people like Saxon, and Unity, or listen to David Rodigan on the radio. Suddenly there’s a new kind of music that people want to do their thing on. Kids thought: if Biggie Smalls and Tupac can grab a mic, I’m gonna do it here.

And the cutting and scratching and rewinds. Obviously the music lends itself to those techniques, but were DJs consciously bringing them in?

Spoony: I used to be a hip hop scratch DJ. One day Timmi and Mikee were round the house and I was mixing an acappella and I started scratching it. They were like, ‘Can you scratch?’ ‘It’s how I learnt to DJ. I was scratching before I could DJ.’ They said, ‘We think you should do that in your set. And the rewinds when people really love the record. The rewinds go back to drum and bass, back to dancehall, back to reggae. This is what we were brought up on.

Did you notice a point where there were a lot of disillusioned refugees from the drum and bass scene?

Spoony: Originally MJ Cole was making drum and bass records, but then ‘I want there to be music. I want chords and strings and melodies and grooves.’ TJ Cases made American R&B music, got disillusioned with that, thought, ‘Wow what is this uptempo music with soul, where has this come from?’ So all these different people for different reasons, coming from different places, are now jumping into the melting pot.

Timmi: As we got to about ’98, ’99, you got refugees from everywhere. ’Cos now you had the two-step sound kicking in. ‘The Theme’ [by DJ Ride] was probably one of the first – breakbeat with a vocal. ‘Destiny’, by Dem 2. I thought, naw I want to put a ballad, so we did the ‘Dreem Teem Theme’. Amira [‘My Desire’] was another one that I put a ballad to. That inspired a lot of people, like Artful Dodger. Then Brandy, ‘Boys Mind’, Architects did a two-step mix and it blew the original out of the water.

Suddenly you had loads of record companies sending R&B mixes. Any tune that was out was getting a two-step remix. So now you go to a club where R&B wasn’t massive, never had been, and you’d just see the room two clear out, cos wow, there’s energy to this music now. and R&B didn’t have the energy that it does now. It was just wine bar music at the time.

What about ‘Never Gonna Let You Go’? That was an early one wasn’t it?

Timmi: It was but that was an American record, that was an accidental thing. It was two minutes long on the end of Tina Moore’s track.

Then everyone started getting real glamorous: the Moschino and the champagne.

Timmi: I never wore that kid of stuff. I just tried to look smart in a shirt…

I remember going to Twice As Nice at the Coliseum and I hadn’t seen such flamboyant dressed guys outside of a gay club. Everyone had spent so much time and effort on their clothes.

Spoony: Because you know you’re going to get the crème de la crème of women and if you go there looking your part there’s a good chance you could be on it. So even if you couldn’t be bothered you would be bothered on a Sunday night outside the Coliseum. Sunday night became Saturday night. Sunday night became the night to go out. I’m taking Monday off work, getting the car cleaned on Saturday, I’m getting my hair cut as late as I can on Saturday so it still looks brand new on Sunday, I got a new outfit to wear. Saturday? Not bothered about Saturdays. Sunday night fever.

At the end of the ’90s the garage scene had pretty much rounded up every woman in clubland.

Spoony: That’s why everyone wanted to come. They didn’t necessarily like or understand the music, but Jesus, never seen so many women in one place. And eventually you start liking the records. My brother, he’s very much into reggae and dancehall music: ‘Nah, I ain’t listening to house.’

I said, ‘Come down you’ll have a good time.’

He came down and all he started talking about was, ‘The girls, the girls, the girls, the girls. But what was that record though, the one that sounded alright?’ Then he’d ask me about more records, and before you knew it, ‘Yeah I need a tape now. ’Cos a girl got into my car and I didn’t have none of the music.’

What was the difference in atmosphere compared to early house things you went to?

Spoony: Early house was very much fuelled by drugs. Being someone who doesn’t take drugs it was nothing to stand there seeing people poppin’ around pills all night. At the Arches, even though people were obviously still taking them, because the music was all melodic it wasn’t as if you had to be off your head to enjoy it. You could listen to it on a Wednesday on your way to work, as opposed to something that you just listen to when you’re out clubbing.

What was it like playing at the Arches?

Spoony: Electric. Electric. You felt it. You felt the atmosphere, you could touch the atmosphere, you could bottle it. You opened the door, you took a deep breath, and you were just hit by hundreds of people dancing 500 percent. No-one looking around caring who’s in there, they’re just in there grooving away. And as a DJ that’s all you can ask for. That’s everything. You felt you were going to play a wicked set because the atmosphere wouldn’t let you put a foot wrong.

That was where it really took off then? You couldn’t look back.

Tony Humphries came and played at the Arches one week and totally bombed.

Wow! Quite a symbolic moment.

Yeah. Maybe the tempo and the energy was too much. He may have been better playing a straight up disco set, as opposed to a mellow soul house set.

But as far as DJ Spoony goes, that was when I started getting a reputation that I was going to come and rock a party. But that was just because the people made me feel that I had to rock the party. I can’t fail to.

Were the Tuff Jam guys following a very similar trajectory? Were you aware of them early on?

Spoony: Yeah because they were producing music as Tuff Jam quite early on. These were people that at the time were UK garage’s biggest DJs.

They were putting stuff out on Catch quite early.

Yeah. This is even before Catch. I think they had something out on Unda-Vybe, but they were doing their thing before the Dreem Teem were invented.

What’s the secret to your success on the radio?

I think we brought another dimension to it. It was no coincidence that we became UK garage’s biggest, maybe the three different influences we had. And at the time, when we were on Kiss, we then had a very successful radio show. We were appealing to people who couldn’t come to the club and hear us, they could tune in and listen on a Friday night. For that reason we then became UK garage’s biggest. All the artists wanted to come on our show, we started getting all the exclusives. It was fun to listen to the show. We weren’t attitude kind of people, we’d have a laugh, take the piss out of each other. It sounded like an on-air party.

How did Ayia Napa become the garage party destination?

If you tell people ‘no’ enough they’ll just go off and do their own thing. So Ibiza comes along, we want to go there but you can only listen to harder house music. There’s somewhere else where they’ve got smaller bars – not 5,000 capacity places, they play R&B records, garage, uptempo R&B, the rest is history.

Had it been a popular destination for black London youth from before?

A lot of my footballer friends were going there from years ago but it wasn’t a massive destination, just a resort. I had a phone call from Pure Silk 1997, ‘Do you want to DJ abroad?’ I don’t care I’ll DJ anywhere. And that was it. the next four years were unbelieveable. You then had a London promoter and they’re bringing the feel to the island, as opposed to it being just a local DJ playing in a bar. Just like how Cream or Manumission go to Ibiza, Pure Silk were going to be Ayia Napa’s Cream. Then Twice as Nice came, Garage Nation, Garage Heaven… By ’99, 2000 it was road-blocked, the planes were packed, the beaches were packed. People booking holidays a year in advance.

© DJhistory.com

TWICE AS NICE 50

GUY SIMONE – You’re Mine

AMIRA – My Desire (Dreem Teem Remix)

TJ CASES – Joy

PEACE BY PIECE – Nobody’s Business (Dreem Teem Remix)

ROBBIE CRAIG – Lessons In Love

ANTHILL MOB – Plenty More

MOOD II SWING – Closer

TITO PUENTE – Oy Como Va (MAW Mixes)

RIP GROOVE – RIP

SO SOLID CREW – Oh No

MASTER STEPZ – Melody

ARTFUL DODGER FEATURING CRAIG DAVID AND ROBBIE CRAIG – Woman Trouble

WOOKIE – Scrappy

MJ COLE – Crazy Love

K2 FAMILY – Bouncing Flow

NEW HORIZONS – Find The Path EP

TJ CASES – Do It Again

DARYL B – Too Late

GROOVE CHRONICLES – Chronicles Theme

DJ LUCK & MC NEAT – Little Bit Of Luck

SHAWN CHRISTOPHER – Make My Love (Kerri Chandler Mix)

HIGH TIMES – Feel It

M DUBS – Over You

LENNY FONTANA – Spirit Of The Sun (Steve Gurley Remix)

MASTER STEPZ FEATURING RICHIE DAN – R U Ready

BAFFLED – Over U

DEETAH – Relax (Grant Nelson Mix)

KELE LE ROC – My Love (10º Below Mixes)

RIP PRODUCTIONS – Oh Baby

BIZZI – Bizzi’s Partee (Booker T Remix)

DREEM TEEM VS. ARTFUL DODGER – It Ain’t Enough

M DUBS – Bump ’N’ Grind

ROY DAVIS JR. – Gabrielle

MONSTA BOY FEATURING DENZIE – Sorry

RAMSEY & FEN – Love Bug

BRANDY – Angel In Disguise (X Men Remix)

STICKY FEATURING MS DYNAMITE – Boo!

TUFF JAM – History Of House Music

DJ PIED PIPER & THE MASTERS OF CEREMONIES – Do You Really Like It

BRASSTOOTH – Celebrate Life

RESERVOIR DOGS – What To Do About Us

SOUND OF ONE – As I Am (Todd Edwards Dub)

DHL – Favourite Girl

MARISSA – Dedicated To Love

4 DEEP CONNEXTION – Twisted Future

TJR – Just Gets Better

WOOKIE – Battle

DREEM TEEM – Dreem Teem Theme

HARDRIVE – Deep Inside

NORRIS ‘DA BOSS’ WINDROSS – Funky Groove

Compiled by Spoony

RECOMMENDED LISTENING

VARIOUS – The London Dream Team – In Session (DJ mix)

VARIOUS – Sound Of The Dreem Teem (DJ mix)