Born in Dartford, educated in Rochester and inspired in his teens by the underground soul scene of the late seventies (and the music of the time...by the likes of Funkadelic, James Brown & Evelyn "Champagne" King) Pete's first DJ job was at a wedding. He was 15 years old. A natural born entrepreneur, he began promoting local bands, booking gigs in a nearby town hall and - as part of the Kent 'Soul Mafia' - playing black soul & dance music in every club that would give him a gig. After leaving school, he bought a Transit van and set up his own sound system.
In 1979, Pete became a journalist for monthly magazine Blues & Soul. By the following year, he was features editor, a position he would hold until '83. At the same time, he was appearing on local radio stations such as BBC Radio Medway and London. Then he got his first break with Radio 1, presenting a regular 15 minute 'magazine' feature on dance music on Peter Powell's show. "That was a strange experience, but also very exciting," says Pete. "Radio 1 was at the peak of its popularity. I had to say what was happening on the streets. I was the first person to play Malcolm McLaren's Buffalo Gals on the radio."
Pete's knowledge of the dance underground, coupled with his ear for a crossover hit, saw him appointed A&R manager at newly-founded independent label London Records in '83. While looking after the careers of pop acts like '80s girl group Bananarama, he continued to pursue his budding radio career. Put off daytime shows by the discovery that the DJs didn't pick their own playlists, Pete accepted his own programme on Kent's newly-launched Invicta station in '84. Influenced by radio DJ heroes such as Robbie Vincent, Greg Edwards and Emperor Rosko, he hosted a soul show there for three years, before briefly returning to Radio London. Almost immediately, however, he was poached by Capital Radio, where his weekly dance programme became cult listening with London clubbers.
In '88, in the wake of Acid House, Pete launched his own record label, FFRR, through London Records. His aim was to both embrace the new wave of electronic music flooding into the country from cities such as Detroit and Chicago, and continue to promote his first love, black dance artists. "The first record I put out was a very cool, quite sexually-explicit single from Chicago called Baby Wants To Ride," he recalls. "I had a rule which was to sign one relatively-indulgent record to every potential big hit. I was aware from the start that you can be hip, but you also have to balance the books."
Inevitably, Pete managed to do both, simultaneously. FFRR's next releases were cut'n'paste production 'Bass (How Low Can You Go?)' by Simon Harris and Salt'n'Pepa's 'Push It', both cool club tracks which went on to storm the charts. They were followed by a stream of influential hits from signings such as Steve 'Silk' Hurley, D Mob, Smith & Mighty, Cookie Crew, L'il Louis The Brand New Heavies, Orbital and, of course, Goldie.
In '91, with an indigenous club culture now thriving in cities across the UK, Pete quit Capital Radio to go national. His Essential Selection show every Friday evening instantly established itself as a welcome to the weekend for a new generation of young clubbers. Heavy on house, but with room for the best breaking techno, jungle, hip hop, funk and soul sounds from both Britain and around the world, it appealed to all tastes in contemporary dance music. Moreover, it merged the cutting-edge with the mainstream. Pete became the country's best-known dance DJ, while keeping his credibility intact. "I'm not too concerned with credibility," he claims. "When I started out, I was obsessed by jazz-funk and soul. I couldn't see life beyond the end of a Donald Byrd album. I was prepared to punch anyone who tried to talk to me about other types of music. But I grew up and discovered that I love hearing new sounds and having my perceptions changed. I didn't want to be pigeon-holed. I also realised that I could achieve much more by staying on the edge of several scenes, rather than being immersed in just the one."
Perhaps Pete's biggest contribution to British pop to date was his involvement in the reshaping of BBC Radio 1. When the nation's biggest radio station decided to re-invent itself in the mid-'90s, controller Matthew Bannister knew precisely who to ask for help. After Pete's ideas were taken on board, the likes of Tim Westwood, Danny Rampling, Judge Jules, Carl Cox and, more recently, Fabio and Grooverider, started to appear on Radio 1's DJ roster. In addition, the station's daytime playlist began to reflect the extent of the impact of modern electronic music on British kids. In January '99, Pete enters his eighth year as the presenter of Essential Selection. With over a million and a half listeners each week, it remains the UK's most popular dance music radio show, thanks to its host's consistent ability to change with the times. Its success has also spawned a series of compilation albums, released by FFRR, which to date have sold over 750,000 copies. The latest - which boasts a tangerine-themed cover and the mixing talents of Tong, Paul Oakenfold and, if you're lucky enough to bag a limited edition copy with a bonus CD, Carl Cox - comes complete with Madonna's seal of approval. It is the first time ever that the singer has sanctioned the appearance of one of her songs (Drowned World) on a dance mix compilation.
During '98, Pete made his first forays into television, an area he is keen to explore. In November, he donned different guises to present Clublife, a 90-minute, BBC-broadcast documentary based on Mixmag magazine's annual dance awards. However, when he does appear with his own TV programme, it won't be for want of publicity. In the past, he has turned down offers to present Radio 1's high-profile breakfast and Top 40 shows, not to mention Top Of The Pops.
In the meantime, Pete has plenty on his plate. He is a director of Wise Buddah, the production company which makes radio programmes presented by Danny Rampling, Seb Fontiane and Judge Jules and continues to work in A&R for London Records. His pop star credentials include A&R-ing Shakespeare Sister's hit Stay, which topped the charts for six weeks in '92, and played a big role in signing All Saints, whose career he continues to oversee. He was recently musical director on films, Human Traffic and The Beach.
The year 2000 proved to be a milestone for Pete - he toured the US for the first time which saw queues around the block, he played on the terrace at Space in Ibiza for the first time, he played in Cape Town and Johannesburg and hosted his own float at Radio 1's 'Love Parade' - "standing on my float with Jon Carter and Darren Emerson in front of 250,000 Radio 1 listeners was just the best feeling ever - a real moment in history".
2001 is proving to be an equally exciting year for Pete with another tour of the States starting in March and his first tour of South America scheduled for later in the year.
Keeping his feet on the ground in the UK, Pete continues to be a valuable part of the British club scene with regular gigs scheduled at Tribal Sessions at Sankey Soap in Manchester, Code in Birmingham and many other credible commitments. He still remains a key figure at the UK summer festivals including for the first time a performance at T-In The Park as well as his yearly appointment at Creamfields and Homelands (Foot and mouth permitting).
Pete's Radio 1 show "The Essential Selection" is now the most listened to radio show on the internet attracting a global audience of over 12 million.
Sing It Back
Pete Tong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Take me and do as you will
Have what you want, your way's always the best way, ah huh
I have succumbed to this passive sensation
Peacefully falling away
I am a zombie your wish will command me
Laugh as I fall to my knees
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Can I control this empty delusion?
Lost in the fire below
And you come running your eyes will be open, woo
And when you come back, I'll be as you want me
Only so eager to please
My little song will keep you beside me
Thinking your name as I sing
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Sing it back to me
A sweet melody
Yeah, oh
Bring it back
Sing it back
Bring it back
Sing it back to me (yeah, yeah, yeah)
Bring it back
Sing it back
Bring it back
Sing it back to me, oh
Bring it back
Sing it back
Bring it back
Sing it back to me (yeah, yeah)
Bring it back
Sing it back
Bring it back
Sing it back to me, yeah
The song "Sing It Back" by Pete Tong, Fatboy Slim, and Paul Oakenfold is a funky and groovy track that tells a story of surrender and submission in a relationship. The lyrics begin with an invitation to surrender, where the singer acknowledges their willingness to be commanded by their lover. The line "have what you want, your way's always the best way" emphasizes the power dynamic in the relationship, where the singer submits to their lover's wants.
The second verse deepens the lyrics' exploration when the singer wonders if they can control their feelings and doubts their ability to break free from their delusion. The bridge of the song features an invitation to the singer's "sweet melody," which can be interpreted as a metaphor for the singer's affection and submission to their lover. The chorus features the repetition of "bring it back" and "sing it back" which highlights the yearning of the singer to receive their lover's attention and affirmation.
Overall, the song's lyrics can be interpreted as a commentary on the dynamics of power and submission in a relationship, where one partner holds more control than the other.
Line by Line Meaning
When you are ready, I will surrender
I'll give in to your advances when you're ready.
Take me and do as you will
You have free reign to do what you want with me.
Have what you want, your way's always the best way, ah huh
You know what you want and you always get it, no matter the cost.
I have succumbed to this passive sensation
I've given up control and am guided by your touch and presence.
Peacefully falling away
My consciousness fades as I'm overtaken by your will.
I am a zombie your wish will command me
I am completely under your control, like a zombie following its master.
Laugh as I fall to my knees
You find it amusing to see me so weak and powerless before you.
Bring it back
Remind me of what I'm missing.
Sing it back
Help me remember the sweet melody of your voice.
Can I control this empty delusion?
I question my ability to tell reality from fantasy.
Lost in the fire below
I'm lost in the passion and intensity of our desire for each other.
And you come running your eyes will be open, woo
When you come back to me, you'll see things more clearly.
And when you come back, I'll be as you want me
I'll be whatever you want me to be when you return.
Only so eager to please
I'm always eager to do whatever you want me to do.
My little song will keep you beside me
My love for you is so strong that even my singing can keep you by my side.
Thinking your name as I sing
I can't help but think of you whenever I sing, it's like I'm singing to you directly.
Come, come, come to my sweet melody
I'm inviting you to come to me and lose yourself in my song and my love.
A sweet melody
My singing and my love for you are like a sweet melody that you can't help but be drawn to.
Bring it back, sing it back
I want you to remind me of our love and bring me back to the passionate feelings we share.
Yeah, oh
An expression of joy and pleasure.
Sing it back to me
Help me remember the love and passion we share through your singing.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Mark Errington Brydon, Roisin Murphy
Lyrics Licensed & Provided by LyricFind
@stephaniegarcia7809
When you are ready, I will surrender
Take me and do as you will
Have what you want, your way's always the best way, ah huh
I have succumbed to this passive sensation
Peacefully falling away
I am a zombie your wish will command me
Laugh as I fall to my knees
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Can I control this empty delusion?
Lost in the fire below
And you come running your eyes will be open, woo
And when you come back, I'll be as you want me
Only so eager to please
My little song will keep you beside me
Thinking your name as I sing
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Sing it back to me
A sweet melody
Yeah, oh
Bring it back
Sing it back
Bring it back
Sing it back to me (yeah, yeah, yeah)
Bring it back
Sing it back
Bring it back
Sing it back to me, oh
Bring it back
Sing it back
Bring it back
Sing it back to me (yeah, yeah)
Bring it back
Sing it back
Bring it back
Sing it back to me, yeah
@jjforcebreaker
It's such a fantastic version. Sounds just amazing. It's a crime it doesn't have few million views by now. Stellar work as always Mr. Tong.
@danielbergin1314
How had this not got more like !!?? It’s insane! I know the old song but this is an insane track and Becky Hill❤️❤️❤️😍😍😍
@stephaniegarcia7809
When you are ready, I will surrender
Take me and do as you will
Have what you want, your way's always the best way, ah huh
I have succumbed to this passive sensation
Peacefully falling away
I am a zombie your wish will command me
Laugh as I fall to my knees
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Can I control this empty delusion?
Lost in the fire below
And you come running your eyes will be open, woo
And when you come back, I'll be as you want me
Only so eager to please
My little song will keep you beside me
Thinking your name as I sing
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Bring it back
Sing it back
Bring it back
Sing it back to me
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Come, come, come to my sweet melody
Sing it back to me
A sweet melody
Yeah, oh
Bring it back
Sing it back
Bring it back
Sing it back to me (yeah, yeah, yeah)
Bring it back
Sing it back
Bring it back
Sing it back to me, oh
Bring it back
Sing it back
Bring it back
Sing it back to me (yeah, yeah)
Bring it back
Sing it back
Bring it back
Sing it back to me, yeah
@MrAntonio1311
Wonderful song
@VORATIN
Very nice job 👍💖
@Samn3212
Amazing song and I appreciate the Donna Summer motif but, personally, I would have enjoyed it if the second half was more like the first. Feels like two tracks in one.
@MrKeeft1
It is and it isnt..effective but then...should it be one or the other...being on Alan Carr confused me, its a year old and on a 2018 special..I didnt know who she was....flippin x factor...makes me wonder..does the public care........
@dg9134
Bring the 2000's back Bring it back!
@veggie42
Such a shame that these days music isn't the same
@daspicybirb9356
Collette Post IKR!?!?