Summer Vision is a wonderfully feel-good, sing-along summer tune.  It’s an up-tempo, superbly structured ‘pop-not-pop’ wonder, dripping with warm strings, live drums and guitar, and driven by Jack Da Lad’s cocky, tight, über-British delivery.

As if being lost in Jack’s flow and sentiment isn’t enough, Shanade brings a monumental chorus that even the most pop-fatigued heads will find hard to resist humming and nodding along to.

Soon to be heard dropping his own solo album on Atjazz’ (who mastered the release) Atjazz Record Company, Si Tew lets us hear his more mainstream sound, working in partnership with TrueSelf (Jamie Radford). On hearing Jamie’s initial idea for the Summer Vision riff back in 2005, Si finally managed to coax his long-standing friend into the studio to put the track down.

It was a no-brainer for Si to invite friends dating from his school days, Jack and Shanade, to do their stuff on the single.  And do their stuff they did.  Summer Vision.  Sizzling.

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MOBO winning emcee Phoebe One speaks up for London, not only bouncing back on Gedaroom, but delivering one of her finest ever tracks with the rugged Neva That.

Nebraska is probably never going to be a state at the forefront of hip-hop culture, but it’s keyed a scratch on the door of the Escalade with Clyde’s discovery of Omaha’s Juse, in whom he’s found a suitably cynical cohort. Million Souls Sold gives a clue in the title to its content, while Lady Cadava is possibly the oddest centrepiece to an album since Kool Keith had a particularly strange day.

It’s not all rhyming and reasoning though. Jane Hamilton (Magic Number, Slope) delivers some sweet boogie soul with her vocals on Read My Mind, and Clyde himself doesn’t shy away from vocal duties on the album.. though he claims currently it’s strictly from within the four walls of the studio, as he’s not yet mastered the art of being drunk enough to sing in front of an audience, yet sober enough to be any good at it! Whatever he thinks, he does a pretty good job in front of a less public mic with a clutch of slow jams for the ladies, and on current favourite in swinging mainland Europe, and Manchester Roll Of The Beast. Hyper Reality a labour of long term obsession at a (political) correctional facility disco.

The title was coined and the lyrical content satisfied. All that was remaining was for Clyde to formulate an equally stirring soundtrack. The original is a loose, live, infectiously catchy house monster with a gratifying slap bass-line sitting satisfyingly under an enticing, ‘stabby’ Rhodes hook. Clyde drops his own ill-tempered falsetto vocals on top, quite literally ‘getting it off his chest’.

Atjazz turns up the heat with one of his most impressive remixes to date. This tuff beauty ebbs towards the boundaries of the more broken side of house. Taking the baton with the original hook, he turns up the energy, taking it to the next level with live Rhodes, a remorseless beat, dressed with the superlative quality you’d expect from one of this mans productions.

Forward-looking and emerging talent, Christo, bestows two seriously dope mixes. His ‘So Much Bounce Remix’ transcends any of today’s pigeon holes, sitting in its own, deep, involving, head nodding kingdom. His vocal dub delves deeper, darker and Detroit-esque. Superb.

Liverpool’s Tim Scott (Sick Trumpet) supplies us with his ‘Roll of the Beats Remix’ and have no qualms, this is a Broken Beat tour de force, heavy on the bass.

Mixes are delivered thrice-fold from Stockholm Hip-Hop nobles, Hearin’ Aid, who drop a depth charge of dynamism to the track, creating a layered canvas of intelligent, digital funk, perfected with a sprinkling of their own rhymes for good measure and to great, great effect. Heavy.

Liverpool’s immensely talented Chris Barker (TrebleO) supplies his own unique take in the form of a deep , filtered, dance-floor cut-up, brimming with energy and guaranteed to please.

The iTunes-only release boasts two extra remixes, both of which present themselves as refreshing takes on the original. Derby consummate, George Booth, hands in a wonderful downbeat interpretation for bars and lounges accross the nation(s), while Fireworm’s ‘School Disco Mix’ is anything-but what it says on ‘the tin’.

Psychic puns aside, we ‘know’ you are going to enjoy this release. Powerful stuff, guaranteed to give even those of a stronger disposition goose-bumps ‘down there’.

On a notable visit to London, Capitol A again caught a Midland Mainline special train to the realm of Derby and off to work the two went.

Again, the formula of clyde+capitol a, mixed in a solution of Atjazz and distilled by Brooks produced another banger, only even more hip and more house than Serve It Up.

As well as assisting Clyde in his studio, Atjazz bequested two fine mixes like nothing he’d produced before. Very original stuff here. The second remixer on the release was again, Brooks, called in to add another dose of his hellish dance-floor panache, where altogether, the combined mixes create a synergistic like force, drawing listeners to their speakers where they can be observed undressing and foaming at the mouth (smiling at the same time).

With Jane Hamilton delivering the infectious vocal hook and Atjazz and his ears of steel ensuring that the final mix down carried a health warning, there is no doubt as to why this track still damages dance floors the world over to this day.

Angry Andrew Brook’s supplied the first and most successful mix in the form of his Hip House mix. This clever interpretation does what it says on the tin: ‘Hip House’. What we failed to put on the tin is that it is a twisted, insane, fast-paced aural gem like no other heard before and this resulted in this mix appearing on a huge number of compilation CD’s over and over again.

Tony Nwachukwu under the handle Wah-Chu-Ku “served up” his own very ‘tech’ mix which, driven by analogue bass lines and warped samples from the original, the listener is taken on an involving ride of captivating build-ups and break-downs.

More recently, Capitol A released his own version under the name Starship Mix on Berlin’s Sonar Kollektiv.