If you're not familiar with the consistent high quality of Ultra's 20-year output across a variety of musical genres (but, emphatically, monster dance hits), try not to let her incarnation as a drag queen performing a tribute to L'il Kim on the front of the CD jacket put you off, as fabulous as it is.
Disc 1 is full of cutting-edge remixes that often turn good songs into great ones - kicking off with my favourite of the many versions I've heard of Love's The Only Drug (which, in fairness, would be a GREAT track in anyone's back catalogue). There are none of the lazy "circuit"-style mixes we've come to expect from lesser artists. Even the closest this CD skates to that line (the "Tribal" remix of Automatic) is an unqualified success.
But, as much as I like this disc, I think the second, mixed (by Ultra, wearing her DJ hat) CD is even more satisfying, starting off all deep house and loungey on a remix of Twisted (actually from Stranger Than Fiction, originally - not GST - but let's not split hairs).This melds seamlessly into Getaway, reimagined here as a late-Eighties Chicago garage stomper, and into a series of cunningly selected remixes that take you through a series of moods, like a good DJ set should be. It makes great use of the rebooted version of Scandal from GST, and adds heaps more interest to the strange, minor-key curiosity of This House, which here turns into a weird and wonderful, brooding deep house cut. Ultra reminds you how well she knows her dance music history, because she was always out there making it. Even Feel Love, my favourite Ultra track ever, still sounds as good as before, despite being souped up more than you'd think was wise, for what's essentially a jazz number.
Both CDs are amazing value, but I think you'll find you get more out of them the more you listen - especially the more soulful second one, "The Sugar Sessions".
Now I just wish someone could bring together some of the timeless remixes of tracks from thoughout Ultra's career: Satoshi Tomiie's take on Party Girl, and Leftfield's devastating reworking of Deeper Love still sound as fresh as ever, and - against my better judgment - make me nostalgic for 'back in the day'.