It seems the fate of many great but lesser-known songs is to become fodder for producers who take the original and retrofit it to create a dancefloor stormer with a soul. The quickest turnaround on such a transformation was when Everything But The Girl put out “Missing” in 1994. “Missing” was a dusty alt-pop song showing the duo at the height of their powers. A couple of months later, house producer Todd Terry got a hold of it and turned it into the four-on-the-floor version of “Missing” everyone’s heard in clubs and on top-40 radio. Everything But The Girl abandoned the romantic-eclectic blueprint that had led them to 1994’s Amplified Heart, and dove straight into the burgeoning electronica movement, where they’ve stayed ever since.

Other reconstituted tracks show up now and then; the Pump Panel Reconstruction mix of New Order’s “Confusion”; the multiple reincarnations of Donna Summer’s “I Feel Love,” first as a fifteen minute mix by Patrick Cowley, and then again in 1995 by several contemporary producers; and others I can only dimly recall. One of the latest is Deep Dish’s remake of Fleetwood Mac’s “Dreams,” originally intended to be an instrumental on their latest album. As the story goes, Deep Dish sent their tapes off to Stevie Nicks’ entourage on a lark, only to find themselves weeks later in a recording studio with the singer herself, laying down new vocal tracks. As with most of these Frankenstein resurrections (to mix metaphors a bit), there will be plenty of people who’ll spit with disgust upon hearing the opening drum salvo, and likely an equal number of people who’ll hear this in a club for the first time and love it, unaware of its origins but nevertheless feeling deep in their gut the power of the Stevie Nicks effect.