Primal Scream’s new single, Ready To Go Home, mixes gospel, disco, and blaxploitation funk, and in the space of three minutes builds to a mad machined finale. The hardware apparently attempting an analogue approximation of Apocalypse Now’s chopper blades. The accompanying video has Bobby Gillespie looking a bit bedraggled, but  kitted out like an evangelical preacher / charismatic cult leader. The combination of music and visuals like Jim Jones meets Dixie-fried Jim Dickinson meets Leonard Cohen. The song’s lyrics sound like the musings of someone who might be tiring of the trappings of fame, the shallowness of celebrity, and looking to return to their roots. For Mr. G, perhaps this was something sparked while penning his best-selling autobiography, Tenement Kid.

The remixes, too, find folks looking, flashing back. Sean “Hardway Bros” Johnston’s version momentarily throws you a curveball, opening with only the choir and bubbling SFX. Nodding toward Andrew Weatherall and Hugo Nicolson’s seminal shake of Come Together, so for 30-60 seconds-ish you might think that you’re in for a downtempo end-of-the-night anthem.* However, you’re then fired, like a rocket, right into the middle of the dance floor. Abandoning the “oasis of slowness” of his A Love From Outer Space parties, Sean punches ignition / lift-off on some peak-time pounding. A charging loved-up locomotive, in part a tribute to Underground Resistance and Mike Banks, his mix is a piece of prog house / trance-y techno just like the tunes that were once hammered in Weatherall’s Sabresonic dungeon, under London Bridge. Sean’s dub, co-produced with Duncan “Monkton” Gray, is stripped to tumbling drums and powerful pulses, Bobby and his congregation locked in King Tubby’s echo chamber, while the B-line now busts a bit of Fingers Inc-esque Juno flexing.

Terry Farley and Wade Teo’s dub, released a few weeks ago on a white label promo, is a hard, heavy, uncompromising hit of Chicago-influenced acid house. However, it’s the pair’s vocal rework that takes the prize here. Far more musical, it pays homage to the The Scream’s early `90s Memphis sessions, with church organ, blues-y guitar and rolling piano. Playing on the OG’s soaring Philadelphia International strings and letting the keys loose for a proper hoedown. Creating an uplifting, sing-along, dance-on-the-bar classic, that’s like the lights coming on in a club and finding you’re surrounded by all your friends. It’s guaranteed to set crowds clapping, raising their hands and reaching for, banging, tambourines. For Farley, who cut his studio teeth remixing indie acts like Primal Scream, Happy Mondays, That Petrol Emotion, and The Farm, it’s an incredible return to Balearic Beat form, rivalling Weatherall’s own “homecoming” with his overhaul of The Primals’ Uptown.

*I’d actually quite like to hear a slow, dubbed out version. Maybe Rude Audio can do a mix?

The remixes of Primal Scream’s Ready To Go Home are out now on BMG.