Jody Wisternoff’s Top Ten Dance Music Classics

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In April 2011, UK journeyman Nick Warren sat down with inthemix to chart his top ten dance music classics – not an easy task for a DJ who’s been at it since the late ‘80s. Now comes the time for his Way Out West partner Jody Wisternoff to step up and complete the picture. With the man on Australian soil for a winter club tour, we set him to the task of selecting ten landmark records from his long love affair with dance music.

Like Warren, Wisternoff is as passionate a DJ as he is a producer. Cutting his teeth in Bristol as a hip hop turntablist, he’s played right across the spectrum, eventually arriving at the progressive house he championed with Way Out West. Over the years, he’s remained committed to the DJ circuit and the art of programming a set, while also keeping one foot in the studio.

2012 has been a significant year for Wisternoff so far. His debut album Trails We Blaze is out on Anjunadeep, traversing Balearic grooves, techno and electronica. He’s followed it with an on-point remix of Above & Beyond’s Alchemy and the news that he’ll be mixing one disc of the upcoming Anjunadeep05 compilation alongside James Grant (Jaytech has made the jump across to Anjunabeats). With two club dates left on his Australian tour, the other half of Way Out West presents his classics playlist. It’s a good one.


Roy Davis, Jnr. – Gabriel

“Stripped-back, bass-heavy and rolling. Featuring one of the coolest vocals ever laid down, this tune really has the funk and I’ll never forget the first time I heard it at Notting Hill Carnival in the late ‘90s. Jazzy horns, deep house chords and the vocals just nailing it, this tune will always bring on a good vibe and still sounds great to this day.”

Azzido Da Bass – Doom’s Night

“Some would say this is the tune that invented dubstep, or at least two-step. Martin Buttrich and Timo Maas basically remixed a dodgy German banger and purely by accident came up with a complete game-changer. The ripping bassline inspired pretty much everyone to up their game, and in a club situation the drop would just cause pure mayhem and leave the room in tatters. The track was also responsible for bringing the garage and progressive house heads closer together, and its legacy can very much be felt these days in the current climate of bass heavy tunage.”