More a showcase for the assured rampancy of MC Tor to race through, though her deserved pauses for breath amount to adding the girly behaviour of Vula Melinga on the choruses that blow candy kisses laced with nitro glycerine. The cartwheel-performing, spritzing synth funk of Max Sedgley, a tough nut liking nothing more to show off its flashy side as it switches lanes from pointed basses to glittery flutters, has Sound Boy doing Basement Jaxx meets Bugz in the Attic – classy and snippy at once.
Kraak & Smaak do their bit to turn Tor from ladette to lady with a finger-clicking funk bassline and rave chords harmonising with infallible naturalness for a smartly cuffed and creased house hot step that resists from becoming your everyday East End gangster knees-up/kneecapping. A lil’ bit of everything for the b-boys and girls, the Murk-style low end and general expertise in mixing bowl opposites completely trumping the original, though it does hold the same balance of being a tough cookie unafraid of polishing its dancing shoes.
In what could well become a battle for Notting Hill Carnival supremacy between two latter mixes, electro-bass/speed garage serration, extraction, abrasion – yep, it’s got that many teeth for Tor to wear the bitemarks of – from Parker storms the DJ booth and tells the float driver to floor it. Seemingly irked and goaded into action by the bass kicking lumps out of the place, Sedgley returns to drop a bassbin-grabbing ‘Afrodub’ harmer of ears that pumps iron to the original’s steelier bits, to turn itself into a bashment monster and lays to rest his Happy legacy.