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The Dok – Strings of Life 94

OK, I feel like I’ve been wimping out a bit the past few weeks on posts, so here’s a nice crowd pleaser of a track… Grant Nelson aka Wishdokta’s cheeky 94 jungle remix of the classic Derrick May tune “Strings of Life”. I could say more, but I’m hoping you already clicked “play” or “download” once you read that last sentence. Strings of Life. Wishdokta. Strings of Life + Wishdokta. what’s not to like?
I previously posted the bootleg remix of Candi Staton ft. The Source’s remake of Jamie Principle’s “your love” on the same label / under the same alias. This one is just as good as that, though maybe even more straightforward (really you just get the melody of the original and some straight ahead choppy amens… no serious changeups or anything). Serious techno heads might consider this remix utter blasphemy, luckily I’m not that picky and hold all of Nelson’s early hardcore/jungle production in high regard… if someone had to do a bootleg of a classic like “strings of life”, I’m glad it was him!!


The Dok – Strings of Life 94

9 Replies to “The Dok – Strings of Life 94”

  1. he keeps it so simple and close to the original though.. So much better than if he had added a standard cheesy 94 happy hardcore melody in there (which WOULD have made it kind of sacrilege in my eyes). Basically just the original sped up + some beats.

  2. Seems the download link got mangled, is some very funky html right there 🙂
    Too bad, I’m liking it alot. He didn’t really need to add much anyway, those piano stabs lend themselves pretty well for a hardcore rinse 🙂

  3. Not a fan of this one I’m afraid – the sample pitched up like that just doesn’t sound right to me. First time I’ve heard it though so cheers for putting it up and I suppose when you’re buzzin on the dance floor it mightn’t be so bad. The Ray Keith take on SOL – TAPES – sort of worked better because the pitch was closer to the original.

  4. I love this remix so so much and I’m also a huge fan of the ’87 original. It’s respectful of the source without stepping on its toes. Props to Derrick May for his versatile melody that works even in reimagined contexts.

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