Now, Saunderson is back in full effect. Inner City have just released their first original material for over a decade in 'Future', while January month sees Saunderson release the first In The House compilation of 2012. We caught up with the legendary DJ and producer to discuss at length creating the first ever remix, how travel broadens the mind, and why this might just be the best mix he's ever crafted...

You've had a significantly longer career than compared to a lot of artists... looking back, what would you consider would be the proudest moment of your career?

Highlights of my career would include my first techno mix compilation. My manager, a guy called Neil Rushton came over to visit me at Detroit in late 1987. He came over and just hung out with us, listened to our music and told us about England. It came together because then in March '88 I was invited over by him to check out the scene. We met some record company guys like Nick Clarke who was the A&R guy at Ten Records at the time. I played my stuff, we discussed about some meetings, and before I knew there was this deal on the table to do this techno compilation, which was eventually released as Techno! The New Dance Sound of Detroit. Before I knew it, Faze magazine back in Detroit was doing this cover story; I had no clue what it was all about, but I was just going with the flow. This was definitely a highlight because this was the beginning of a significant impact that we had which consequently lead to bigger and better things.

Straight after that I came back and did the first remix - certainly as people know it today - of a Wee Papa Girl Rappers record 'We Know It'. In the past it had all been re-loops and re-edits. A remix fundamentally changes the song in some way. I was the first one of doing that and it became a highlight because it was a definite change from what was being done before, and because the record company and artists just didn't know what to say!

Another pivotal point was when I heard 'Big Fun' played at Spectrum by Paul Oakenfold. I didn't really know just how big the record had become until then, all I knew was that it was a good record and people liked it. In those days you didn't have the Internet, we had faxes. There were no social networks and news spread way more slowly, so you weren't really aware of the power a record had. I tell you, when he played that record, everybody just stopped. It was a truly spiritual moment, and as those chords came, the place just went crazy. It made me realise how much of impact my music and Detroit was having at that time.