When Deep Dish – without question one of the most successful DJ partnerships of all time – increasingly started to DJ apart, it was widely acknowledged the reason was that the duo’s musical paths were moving in polar directions.

While Dubfire has been a controversial if highly successful convert to the minimal techno fraternity, Sharam’s preferred direction was laid out in strident style at Miami Winter Music Conference in 2006. There, he played his crowd-pleasing, Eddie Murphy sampling ‘Party All The Time’ track for the first time, often more than three times in a single set. It was a statement of intent, and that was to produce huge, populist club anthems with irresistible chart crossover appeal.

His solo artist album, ‘Get Wild’, features plenty of those kinds of catchy vocal tracks, while keeping the Deep Dish faithful happy with clubbier, instrumental cuts like the excellent ‘Texi’ and a throbbing house collaboration with Nic Fanciulli somewhat non-committaly entitled ‘The Track With No Name’. Title track ‘Get Wild’ is every bit the cool vocal club banger too.

Crossover weapons come in the form of collaborations with the likes of pop icons Daniel Bedingfield, Tommy Lee and P Diddy. And like fellow chart savvy superstar jock David Guetta, Sharam is successfully forging links that are joining the hip hop and electronica dots too. His use of Kid Cudi on ‘She Came Along’ brings club sounds into America’s notoriously either/or hip hop/rock equation, which could well see him achieve more than that cheeky Eddie Murphy sample even touched upon. Not forgetting the dynamic effect the Patsy Cline sample that underpins ‘She Came Along’ will have on a wider audience either.

All the elements for Sharam’s bold musical plans are in place on this LP in spades. It’s an almost overwhelming selection of big hitting tracks, genres, artists and ambition. And while the club crowd continue to hotly debate the merits of the musical paths both Deep Dishes have chosen, Sharam is poised to take his output onto a whole new platform, with interesting implications for the profile of dance music in America and beyond.