Dance Classics by PartyFavorz

House — Millennial House Music Classics Vol. 5 (2014) collects club-ready remixes and vocal anthems that helped define the era. This installment, subtitled “Can’t Get Enough,” is built as a concise primer for listeners who want the decade’s peak-time energy distilled into a single mix.

Highlights include Fred Falke’s shimmering remix of The Whitest Boy Alive’s “Golden Cage,” Kaskade’s rework of David Morales with Tamra Keenan’s “Here I Am,” and the Freemasons’ sleeker take on Steve Mac vs. Mosquito’s “Lovin’ You More.” The set also leans on enduring vocal moments from Soulsearcher featuring Thea Austin and the Danny Tenaglia Vocal Club Mix of Kings of Tomorrow featuring Julie McKnight, while a touch of underground flair arrives with Kurtis Mantronik presenting Chamonix’s “77 Strings.” Designed for both longtime house heads and new listeners, the mix balances nostalgia with club-ready polish across its 78-minute run.

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00s House Music Classics Vol. 4: Get Up n' Dance (2014) collects peak-time remixes and vocal house cuts from the era that crossed pop and club culture. This installment is built as a time capsule for listeners who want melodic hooks and remix-heavy production distilled into a single, floor-ready mix.

Highlights include Sean Biddle’s Get Up ’n’ Dance in an Alex Romano remix and Mylo’s In My Arms revisited by King Unique, alongside the Mutant Disco Vocal Mix of Earth, Wind & Fire vs. Phats & Small’s September ’99. Moto Blanco’s house treatments aren’t ignored either, and the set leans on international flavors with Afro Medusa’s Pasilda and Bob Sinclar’s Love Generation in a Full Intention Club Mix. The selection favors singalong moments and peak-energy arrangements, making the volume useful for nostalgic DJ sets or refreshing a playlist with early-2000s club textures.

Listeners should expect a concise, remix-forward arc that emphasizes the era’s crossover hits and the producers who kept them club-relevant.

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Circuit and tribal-leaning Legacy Dance Tribute, 2014 — Volume 2 spotlights the remix craft of Barry Harris and Chris Cox and why Thunderpuss became a staple of club playlists. This near-two-hour set reshapes pop and R&B into floor-ready anthems while keeping vocals front and center, turning personal stories into collective release. Highlights include Abigail’s uplifting Let the Joy Rise and Janet Jackson’s muscular All for You alongside the theatrical Thunderpuss take on Pet Shop Boys’ New York City Boy. The mix also leans on strong vocal peaks with Amber’s Above the Clouds, Lara Fabian’s I Will Love Again, and a closing club-ready remix of Whitney Houston’s Try It on My Own. Across the tracklist the duo’s trademark build-and-release dynamics—tribal percussion, chanting breakdowns, and roomy vocal moments—remind listeners why their remixes dominate peak-night memories.

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Legacy Dance Tribute, 2014 — a focused homage to Thunderpuss and the duo’s role in defining early‑2000s circuit and vocal house. Party Favorz assembled a two‑volume tribute that highlights Barry Harris and Chris Cox’s signature mix of tribal percussion, dramatic builds, and vocal‑forward club production. Volume 1 pulls classic remixes and club edits into a nearly two‑hour set meant for listeners who remember those nights and newcomers curious about the sound that moved them.

Highlights include the defining Thunderpuss treatment of Whitney Houston’s “It’s Not Right But It’s Okay,” Amber’s “Sexual (Di Da Di),” and Madonna’s “Don’t Tell Me,” alongside club mixes for Britney Spears, Cher, and Taylor Dayne. The notes trace how the duo kept the singer central while creating big‑room energy — breakdowns that let the lyrics land and drops that sent the floor into full motion.

Thunderpuss split in 2003, but both producers kept shaping dance music afterward: Chris Cox as a remixer and DJ and Barry Harris returning to remix work later. This volume is a clear snapshot of their peak-era remixes and why those tracks endure as circuit anthems.

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House — Millennial House Music Classics, 2014: a focused mix assembled to revisit vocal-driven club cuts and defining remixes from the millennium. This Volume 3 collection stitches together dancefloor sing-alongs and club edits that helped bridge boutique house culture into wider dance consciousness. Think Soul Avengerz feat. Angie Brown’s “Sing,” Blaze pres. Barbara Tucker’s “Most Precious Love 2006” (Freemasons Proper Club Mix), Agnes’s Cahill-edited “Release Me,” and Armand Van Helden feat. Tara McDonald as reframed by Stonebridge.

The notes nod to the old-school hunt for promos and CDs at places like Tower Records and the early disruption of Napster, while acknowledging how iTunes, Beatport, Traxsource, and bedroom production reshaped access and sound. Other highlights include Grant Nelson’s vocal mix of Negrocan’s “Cada Vez” and Maurice’s Carnival mix of Mary Mary’s “Shackles,” tracks that capture how remixes translated gospel, soulful vocals, and disco energy for club floors. Runtime: roughly 77 minutes of Millennial-era house.

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This episode is a 00s house mix from the Millennial Dance Classics series assembled in 2014 to spotlight both obvious hits and deeper club favorites from the early 2000s. It’s designed to celebrate the era’s remix culture and the way producers blended disco, pop, and underground house to keep dance floors moving.

Highlights include Deep Dish’s Miami Calling take on Stevie Nicks’ “Dreams,” Modjo’s Extended Mix of “Lady (Hear Me Tonight),” and the Freemasons/Full Intention rework of “Love On My Mind” with Amanda Wilson. You’ll also hear Seamus Haji’s remix of Moby’s “I Love To Move In Here,” Joey Negro’s club-minded “Make A Move On Me,” plus a Joey Negro mix of Thelma Houston that reconnects the set to disco roots.

The selection favors tracks that mattered in clubs as much as on charts, pairing familiar anthems with deeper cuts and remixes that illustrate the stylistic breadth of early‑00s house. Turn it up and revisit that era’s fertile remix-driven soundscape.

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House — Millennial House Music Classics Vol. 1 (2014) maps the first decade of the 2000s when classic, disco-tinged house splintered into fresh subgenres. This first volume is a DJ-friendly survey designed for nostalgia and discovery, collecting club mixes and remixes that defined early millennial house culture.

Highlights include Praise Cats feat. Andrea Love’s “Shined On Me” (Bini & Martini Re‑Vocal Mix), Clubland’s “Let’s Get Busy” (Sami Dee’s Classic House Remix), and Full Intention’s take on Barbara Tucker’s “Stop Playing With My Mind.” The set also features Armand Van Helden’s “I Want Your Soul,” Moloko’s “Sing It Back” (Boris Musical Mix), and David Guetta feat. Estelle’s extended “One Love,” demonstrating how producers balanced vocal hooks with peak-time rhythms.

Running just under two hours, the compilation traces how veterans like Eric Kupper and remix teams such as Seamus Haji and ATFC shared space with newer millennial voices, offering a concise picture of house from 2000–2009 for fans and curious newcomers alike.

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This is a circuit and house mix from the Classic Circuit Anthems series, Vol. 4 (2014), built as a finale of big-room drama and anthem-driven peak-hour flow. The set stitches long, tension-filled remixes together to recreate the payoff moments that defined gay circuit playlists from the era. Highlights include the Jonathan Peters anthem mix of Paula Cole’s “I Believe in Love,” presented here as a roughly 14-minute centerpiece with extra care taken to preserve its cinematic build. Kim English’s “Unspeakable Joy” (Razor ’n’ Guido vocal mix) anchors the uplifting section, tightened in the mix to maximize the breaks and vocal impact. The megamix also nods to Wayne G’s Heaven Anthem take on Darren Hayes, Thunderpuss’s club refit of Jennifer Lopez’s “Alive,” Calderone + Suryanto’s rework of Goldfrapp’s “Strict Machine,” and Jonathan Peters’ vocal mixshow of Whitney Houston’s “My Love Is Your Love.” Clocking near eighty minutes, the set favors commanding vocals, long builds, and precisely timed drops for sustained dance-floor moments.

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Classic Circuit Anthems Vol. 3 — Filthy Gorgeous is a 2014 circuit-house megamix built for big rooms and vocal drama. This entry in the Classic Circuit Anthems series collects peak-time remixes and cuts designed to hit hard at Pride sets and peak-hour dancefloors, blending soaring strings, bold vocal moments, and extended club dynamics. Highlights include Peter Rauhofer’s lush work on Annie Lennox and Christina Aguilera, Hex Hector’s signature big-room edits and the set-closing Hex Hector vocal remix of Jennifer Lopez’s “Waiting for Tonight.” Inaya Day’s reconstruction of Vanity 6’s “Nasty Girl” and other club-ready reworks keep the energy relentless while a few judicious edits tighten the flow. Running just under two hours, Filthy Gorgeous mixes full-length remix drama with select trims to maintain momentum for a modern circuit crowd.

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This is a 2014 Circuit/House mix from the Classic Circuit Anthems series, built to revisit the big-room anthems that owned Pride dance floors. The set deliberately trims a few historically long club mixes to keep the momentum while preserving the dramatic builds, breakdowns, and communal peaks that defined the era.

Highlights include Thunderpuss’ take on Pet Shop Boys’ “New York City Boy,” DJ Skribble & Anthony Acid’s trance-leaning edit of Olive’s “I’m Not in Love,” and powerful vocal mixes by Kim English and Tony Moran featuring Martha Wash. Peter Rauhofer’s Reconstruction of Mariah Carey’s “We Belong Together” and Offer Nissim’s version of Kristine W add late‑night emotional heft. Those singalongs, raised hands, and even the shouted “VODKA, VODKA” moments are very much intact.

Vol. 2 continues a four-set return to classic circuit territory and runs nearly two hours, keeping the drama without overstaying its welcome. The volume originally arrived during Party Favorz’s busy 2014 Pride and summer release schedule.

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