As for me, I would declare that "Break It Up" was not a futile effort. The song, which ends up being far more ballad-related than anything close to electronic music, features some fine symphonic pads and an acoustic guitar part that is actually rather soothing. And you can question H.P.'s singing voice all you like -- we know that he certainly has difficulty in that department presently -- but it's not something that is brutal to the ears. I guess the song is about breaking up with a loved one, as you can tell by these fine chorus lyrics: "Break it up, break it up, break it up, my love... If you think that you can stay with me, break it up, my love..." Okay, maybe they're not superb. But what's amusing is that the lyrics (and even perhaps some of the instrumental parts) were not penned by Scooter; indeed, a professional writer, Nosie Katzmann, who is known for producing and composing alongside many famous dance acts, such as Culture Beat, Jam & Spoon, Captain Hollywood Project, and even Cascada apparently. (So you KNOW he's worked with top-notch artists.) So this isn't really as much a foray into new territory as it is a collaboration. Hmmm. Anyway, the Radio Edit is pretty straightforward poppy ballad stuff, so if you're into that type of tune, this would be a good place to look.

We are also lucky enough to get the Unplugged version of the song as well, which is even more laidback, and features a wider variety of real instruments being played, including another guitar and some nice piano work. H.P.'s vocals and the background music sound a bit more like one of those live recordings, but I still think that they're the same ones as in the Radio Edit. This is the least electronic Scooter will probably ever sound like, but it's nice to see a softer and deeper side of the group than I'm used to. But the real treat for me, the goofy trancehead, is the B-side, Wednesday (Kontor Mix). I suppose someone at their parent record label (Kontor Records) remixed this or something, although there doesn't seem to be any original mix around. This is a far more upbeat and dancy tune, featuring some amusing string synths and rockin' beats. But the real fun begins right after H.P. sneaks in a "Ha-Haaaaa!" and we get an amazingly cheery piano rhythm going; combined with the bassline, we have ourselves a super party track! Unfortunately, that part doesn't last too long before a relatively somber but still partially groovy second half of the track sets in. Frankly, I tend to stop listening after the piano part ends because there's nothing special after that.