"Philly" in the same year. In the following year, Fluke released their first album, The Techno Rose of Blighty, swiftly followed by the single "The Bells" and a live album entitled Out (In Essence). For the release of Out (In Essence), Fluke abandoned their deal with Creation Records and signed instead with Circa Records, an offshoot of Virgin. Along with these releases, Fluke also began their career-spanning tradition of releasing work of a different nature under various names. The first of these, the industrial music single "All Aboard", was released in 1990 under the name The Lucky Monkeys. At this early stage in their career, the band realized that they would experience the greatest artistic freedom if they had their own recording studio and took it upon themselves to obtain their own premises. This was an asset which, according to Fugler, proved invaluable in coordinating the "wider pool of people — musicians and friends — that we draw on to help". Although having never met the band, EMI invited Fluke to remix Talk Talk's 1986 song "Life's What You Make It" for the 1991 album History Revisited which largely consists of new remixes of Talk Talk songs. The album was removed from stores after the band denounced it, saying they had not given permission for the songs to be remixed. Six Wheels on My Wagon After a two-year break, Fluke returned with what became a breakthrough into mainstream popular music when, in 1993, they released the single "Slid". This became an instant club classic when it was picked up by DJ Sasha who liked it so much that he included three separate remixes of it on his Renaissance album. This burst of success was followed by two further singles, "Electric Guitar" () and "Groovy Feeling", and, in the same year, the release of the group's second album, Six Wheels on My Wagon. This new album was a distinctly house music production, with uplifting riffs and ambient effects, as opposed to the techno style of their previous release. The album was structured so that the more accessible "pop" tracks were to be found at the beginning of the album and the more ambitious ambient works towards the end. Though this could have produced a stagnating effect, it was received favourably by critics, with Billboard magazine labelling it "groundbreaking". Other reviewers went further, with The Independent suggesting that Fluke was to become