This mix launches the Deep Dance 005 - 007 set with a concentrated blast of 1990 club culture, built around the point where house, hip-house, Eurodance and chart-pop were beginning to merge. It has a tougher dancefloor focus than the earliest Deep Dance volumes, but still keeps the series' fast-cut personality intact: recognisable hooks, quick genre turns and a constant sense that the next sample or chorus is already waiting around the corner.
Madonna's "Vogue" gives the opening a glamorous house-pop signal, before Jungle Brothers, JT Company and The House Crew pull the mix toward rap-driven club energy. Black Box, M.C. Sar & The Real McCoy, 49ers and Bizz Nizz bring the European dance sound into sharper focus, while Atmosphere Introducing Mae B., Red Fox, E-Zee Possee and MC Magic Max add underground colour and attitude. The middle section feels especially alive because it does not stay in one lane: Italian house, Belgian rave-pop, tribal percussion and hip-house all collide in a compact sequence.
The final stretch pushes the energy further with Ice MC, D. Mob, F.P.I. Project, Masterboy, Simon Harris, Sydney Fresh, Twenty 4 Seven, Lee Marrow and Technotronic. These tracks make Take 5 feel like a snapshot of the moment just before Eurodance became a fully dominant language: rap verses, club commands, piano stabs and bright hooks all fighting for space. As an opener, it is direct, busy and extremely period-specific, setting up the compilation as a document of 1990's dancefloor acceleration.
Madonna's 'Vogue' is one of the definitive 1990 moments, bringing ballroom style, house-pop elegance and pure star power into the sequence. Even in a compressed edit, it feels like a centrepiece rather than just another hook.
Jungle Brothers - 'What U Waitin' 4?' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
JT Company - 'Don't Deal With Us' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
With 'All We Wanna Do Is Dance', The House Crew adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
Black Box return with polished Italo-house force: diva vocals, piano drive and a glossy club-pop arrangement. In the mix, it feels like a natural peak after the more tribal and atmospheric material before it.
M.C. Sar and The Real McCoy pull the mix straight from ballad intensity into early Euro-house architecture. Rap verses, a bright female hook and a clean club beat make 'It's On You' one of the trilogy's clearest pointers toward the Eurodance boom.
Atmosphere Introducing Mae B. add a darker, more rave-facing texture to the early part of Part II. The track's title and mood feel almost cinematic, giving the mix a flash of underground tension between the bigger crossover records.
Red Fox - 'Waste Your Time' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
49ers's 'Girl To Girl' brings a sharp 1990 club pulse into the mix, with enough hook and rhythm to work as both a recognizable pop moment and a transition tool. In this Deep Dance context it adds pace, familiarity and clean dancefloor momentum.
49ers's 'Don't You Love Me' brings a sharp 1990 club pulse into the mix, with enough hook and rhythm to work as both a recognizable pop moment and a transition tool. In this Deep Dance context it adds pace, familiarity and clean dancefloor momentum.
Bizz Nizz deliver Belgian rave-pop at its most direct: a chant-like hook, chunky rhythm and no wasted motion. In the mix, it hits like a crowd-response record, built for fast recognition and quick transition.
E-Zee Possee feat. Dr. Mouthquake - 'Love On Love' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
MC Magic Max - 'You Make Me Funky' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
Tribal House - 'Motherland (Africa Dub)' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
This unidentified fragment is valuable precisely because it preserves the original mix as a real collector's object rather than a cleaned-up playlist. The mystery adds texture, reminding the listener that Deep Dance history still has unresolved corners.
Chart peaks: no documented DE/NL/SE/UK/DK peak found
Ice MC's 'Cinema' continues his rap-led Euro-house presence with fast vocal delivery and a sharp club pulse. It works as a compact burst of movement before the mix takes one of its stranger archival turns.
D. Mob With Cathy Dennis - 'That's The Way Of The World' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
F.P.I. Project's Rich In Paradise from 1994 brings house energy into the Deep Dance 001 + 002 tracklist. In the mix it works as a compact snapshot of late-80s club culture, connecting radio hooks, dancefloor rhythm and the fast-cut megamix style that shaped the early Deep Dance sound.
Chart peaks: DE #13 · NL #5 · UK #9
Early Masterboy arrives with simple commands and hard club intent, already hinting at the Eurodance machinery the group would later refine. 'Dance To The Beat' is direct, energetic and perfectly suited to a fast-cut mix.
With 'Ragga House (All Night Long)', Simon Harris Starring Daddy Freddy adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
With 'The Party Just Began', Sydney Fresh adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
Twenty 4 Seven and MC Fixx It bring one of the clearest early Eurodance blueprints in the trilogy. Rap verses, a strong female hook and relentless club rhythm make it feel like a preview of the next few years.
Lee Marrow's 'Do You Want Me' brings Italian Euro-house swagger with a bold vocal hook and a driving rhythm. It keeps the late Part III sequence moving with more bite than polish.
Technotronic's 'Move This' keeps the Belgian house-pop run tight and physical. It has a lighter bounce than 'Get Up!', but in the mix it extends the same unmistakable Technotronic identity.
MC Miker G.'s 'Show'm The Bass' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
This unidentified fragment is valuable precisely because it preserves the original mix as a real collector's object rather than a cleaned-up playlist. The mystery adds texture, reminding the listener that Deep Dance history still has unresolved corners.
Chart peaks: no documented DE/NL/SE/UK/DK peak found
This mix continues the compilation with a more playful and rave-edged character, moving from novelty colour and party vocals into harder house, hip-house and early-90s club pressure. Take 6 feels less polished than Take 5 in the best way: it is rougher, louder and more willing to jump from cartoonish pop energy into warehouse chants and bass-heavy dance tracks.
The opening stretch sets that tone immediately, moving from the "Rescuers" intro and The Tutti Frutti Girls' "Cin Cin" into Donna Robbins, The Adventures Of Stevie V and Black Box. "Dirty Cash" and "Everybody Everybody" provide major club-pop anchors, while WestBam's "The Roof Is On Fire" and The House Crew sample sharpen the mix with a more rave-minded edge. Hithouse, Lee Marrow, Guru Josh and the 1990 remix of Anita Ward's "Ring My Bell" keep the sequence rooted in club culture, but each brings a different flavour: piano-house, rave melody, disco revival and direct dancefloor command.
The back half leans into movement and attitude with D. Pressure, Club Control, Maude, MC Fixx It and Tony Scott, before New Kids On The Block suddenly pull mainstream pop back into the room. Bass Bumpers' "Can't Stop Dancing" gives the closing section a final burst of early-90s club energy, while the unidentified fragment preserves the original mix's collector character. Overall, Take 6 works as the compilation's rowdiest chapter: less elegant, more physical, and full of the messy crossover energy that made 1990 such a fertile year for dance music.
A short connective sequence that gives the mix its bootleg character and resets the energy before the next run of club records. These fragments are part of what makes the Deep Dance edits feel hand-built rather than simply compiled.
The Tutti Frutti Girls's 'Cin Cin' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
Donna Robbins's 'Treat Me Right' brings a sharp 1990 club pulse into the mix, with enough hook and rhythm to work as both a recognizable pop moment and a transition tool. In this Deep Dance context it adds pace, familiarity and clean dancefloor momentum.
With 'Dirty Cash (Money Talks)', The Adventures Of Stevie V. adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
With 'Everybody Everybody', Black Box adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
WestBam adds tougher German club attitude with a chant everyone already knows how to respond to. The track brings sweat and pressure, making the sequence feel closer to a rave floor than a radio countdown.
The House Crew's 'All We Wanna Do Is Dance (Sample)' brings a sharp 1990 club pulse into the mix, with enough hook and rhythm to work as both a recognizable pop moment and a transition tool. In this Deep Dance context it adds pace, familiarity and clean dancefloor momentum.
With 'I've Been Waiting For Your Love', Hithouse adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
Lee Marrow - 'Pain' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
Guru Josh's 'Whose Law (Is It Anyway)?' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
Anita Ward - 'Ring My Bell (1990 Mega Remix)' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
D. Pressure - 'Let's Jam The House' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
Club Control close Part II with a track that sounds like its title: mechanical, repetitive and built around the raw idea of house music as motion. It leaves the middle chapter on a stripped, functional club note.
Maude's 'Get On The Move' brings a sharp 1990 club pulse into the mix, with enough hook and rhythm to work as both a recognizable pop moment and a transition tool. In this Deep Dance context it adds pace, familiarity and clean dancefloor momentum.
MC Fixx It's 'Let's Move' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
Tony Scott's 'Gangster Boogie' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
New Kids On The Block represent 1990's teen-pop machine in full effect. In a Deep Dance context, 'Step By Step' works as a cultural timestamp: slick, bright and impossible to separate from the year.
Bass Bumpers's 'Can't Stop Dancing' brings a sharp 1990 club pulse into the mix, with enough hook and rhythm to work as both a recognizable pop moment and a transition tool. In this Deep Dance context it adds pace, familiarity and clean dancefloor momentum.
This unidentified fragment is valuable precisely because it preserves the original mix as a real collector's object rather than a cleaned-up playlist. The mystery adds texture, reminding the listener that Deep Dance history still has unresolved corners.
Chart peaks: no documented DE/NL/SE/UK/DK peak found
This mix closes the Deep Dance 005 - 007 compilation with one of the set's most varied and forward-looking sequences. Take 7 moves through remix culture, soulful club tracks, hip-house, sample-driven pop, rave signals and harder electronic moments, making it feel like a bridge between the late-80s crossover sound and the more aggressive club language that would define the early 90s.
The opening gives the mix a cinematic doorway before Sting's Ben Liebrand remix of "Englishman In New York" brings sophisticated remix craft into focus. Chill Rob G., Innocence, DNA's remix of Suzanne Vega and Timmy Thomas show how broad club culture had become: rap, soul-house, sample-pop and classic soul references all sit together naturally. Lonnie Gordon and Snap! add chart-facing dance energy, while the Deep Dance break resets the pace before the sequence heads into rougher club territory.
From there, Take 7 becomes increasingly physical. Yankees, 2 Static, Clubland, 2 In A Room, Rob 'N' Raz with Leila K., Stax and Jocelyn Brown bring house, rap and vocal power into a dense middle run, while Hardcore Uproar, GTO, Robotiko Rejekto and Tricky Disco point toward rave, techno and bleep culture. The closing choices, including Plaza, Eurythmics' "Sweet Dreams" in Nightmare Mix form and Bombalurina's novelty-pop burst, give the finale both darkness and humour. It is a strong closer because it refuses to tidy 1990 up: it lets the year sound strange, crowded, commercial, underground and exciting all at once.
A short connective sequence that gives the mix its bootleg character and resets the energy before the next run of club records. These fragments are part of what makes the Deep Dance edits feel hand-built rather than simply compiled.
Sting's 'Englishman In New York (Ben Liebrand Remix)' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
Chill Rob G. - 'Court Is Now In Session' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
With 'Silent Voice', Innocence keep the mood understated and elegant. It is not a showy megamix moment, but it gives the sequence depth: a cool, spacious groove that makes the surrounding pop hooks feel less crowded.
DNA's remix of Suzanne Vega is a perfect example of how 1990 transformed songs through club culture. The bare vocal sketch becomes cool, rolling and modern, and in the mix it lands as a sleek crossover moment with instant identity.
Timmy Thomas's 'Why Can't We Live Together' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
With 'Beyond Your Wildest Dreams', Lonnie Gordon adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
Snap! bring sharp Euro-rap attitude, heavy rhythm programming and a hook that lands immediately. 'Cult Of Snap!' pushes Deep Dance VIII toward the harder, more commanding side of 1990 dance.
Chart peaks: no documented DE/NL/SE/UK/DK peak found
A short connective sequence that gives the mix its bootleg character and resets the energy before the next run of club records. These fragments are part of what makes the Deep Dance edits feel hand-built rather than simply compiled.
Yankees's 'I Can't Feel It' brings a sharp 1990 club pulse into the mix, with enough hook and rhythm to work as both a recognizable pop moment and a transition tool. In this Deep Dance context it adds pace, familiarity and clean dancefloor momentum.
2 Static and Nasty Cat deliver Belgian rap-house bounce with a beat-focused hook and plenty of club urgency. It is compact, direct and exactly the kind of track that thrives in a fast megamix environment.
Clubland - 'Let's Get Busy' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
2 In A Room - 'Wiggle It' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
Rob N Raz feat. Leila K. - 'Just Tell Me' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
French Connection's 'French Connection' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
Stax turn a nursery-rhyme idea into playful Euro-house, and that simplicity is the point. The track adds comic bounce and period charm after the sophistication of 'Vogue', keeping Part II loose and unpredictable.
Jocelyn Brown - 'Love's Gonna Get You (Dance Mix)' captures the early-90s crossover sound: direct, sample-friendly and built for fast mixing. The track gives this section a strong rhythmic anchor while leaving room for quick cuts around it.
Sync' Tronic's 'What Sticks Together' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
This unidentified fragment is valuable precisely because it preserves the original mix as a real collector's object rather than a cleaned-up playlist. The mystery adds texture, reminding the listener that Deep Dance history still has unresolved corners.
Chart peaks: no documented DE/NL/SE/UK/DK peak found
This unidentified fragment is valuable precisely because it preserves the original mix as a real collector's object rather than a cleaned-up playlist. The mystery adds texture, reminding the listener that Deep Dance history still has unresolved corners.
Chart peaks: no documented DE/NL/SE/UK/DK peak found
With 'Together', Hardcore Uproar adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
GTO's 'Pure (Energy)' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
With 'Injection (Rejekto 2)', Robotiko Rejekto adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
Tricky Disco pushes the sequence toward bleepy UK rave, with strange synth shapes and a minimal, almost cartoonish vocal identity. It is a brilliant texture change, making the mix feel less predictable and more club-literate.
Plaza's 'O-Oh' lands as a compact burst of period detail: punchy drums, memorable phrasing and a structure that suits the Deep Dance cut-up style. It keeps the release rooted in the busy, sample-driven sound of 1990.
With 'Sweet Dreams (Nightmare Mix)', Eurythmics adds a distinctive color to the sequence, balancing radio recognition with club pressure. It is the kind of track that helps the megamix move from pop memory into harder dance energy without losing the listener.
Bombalurina bring shameless novelty-pop energy, and the mix is better for including that side of 1990. The track is bright, silly and instantly dated in the most useful archival sense.