Album Review: Top 40 by John Scott – A Hidden Gem in Electronic Music
Alright, so let’s talk about Top 40 by John Scott. Released back in 2006 on Reticent Recordings, this little slice of electronic goodness is a solid ride through Tech House and Progressive House vibes. It’s not gonna blow your mind like some legendary album, but it’s got that understated charm that sneaks up on you when you least expect it.
First off, the title track, Top 40 (Original Mix)—man, this one sticks with me. It’s got this groovy bassline that just sits right in your chest, y’know? Like, you don’t even need to be at a club for it to hit. The build-ups are smooth as heck, no over-the-top dramatics or anything. Just clean, steady energy that makes you wanna nod your head or maybe even shuffle around awkwardly in your living room. I remember throwing this on during a late-night drive once, and suddenly the highway felt way cooler than usual. That’s the power of a good house track—it turns mundane moments into something kinda cinematic.
Then there’s Top 40 (Jayless’ Freak On A Leash Mix). This remix flips the script completely. If the original mix is all sleek and polished, Jayless takes it somewhere darker and grittier. There’s this weird tension in the synths, almost like they’re teasing you before dropping back into the beat. Honestly, it reminds me of those nights where everything feels a bit off-kilter but still fun somehow. You’re not sure if you should dance or just stand there looking mysterious, haha. Either way, it works. Props to Jayless for adding his own flavor without losing what made the original cool.
The third track, Top 40 (Nukes Mix), is alright too, though it doesn’t grab me as much as the other two. It leans more into tech-house territory, which might appeal to purists who dig minimalism. But personally, I found myself skipping back to the first two tracks after giving it a couple listens.
So yeah, Top 40 isn’t gonna change the world or anything, but it’s a solid listen if you’re into house music from the mid-2000s. What gets me thinking, though, is how albums like this kinda slip under the radar. Back then, everyone was chasing big-name DJs and massive festival anthems, but here’s John Scott quietly putting out something that holds up years later. Feels kinda refreshing now, doesn’t it?
Anyway, random thought: I wonder if John Scott ever imagined people would still be talking about his music nearly two decades later while sitting in their pajamas typing reviews online. Probably not. Life’s funny like that.
