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Remixes: Yay or Nay? Been listening to a few of my fave 80's artists lately (names irrelevant, but they survive to this day. you probably know!) some official remixes put out on CD singles by them, don't know if it's just me, but i find them utterly soulless and boring, where i didn't used to.
Almost like i know the artists didn't have any input into these recordings, weren't there in the studio with the remixer, they come across as totally fake. Maybe i'm getting old (at 38!), i dunno, but remixes don't move or excite me anymore. Is this normal? Should songs just be all they can be without the need for remixes?  [Edited 3/9/09 11:26am] |
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Marrk said: Maybe i'm getting old (at 38!), i dunno, but remixes don't move or excite me anymore. Is this normal?
Should songs just be all they can be without the need for remixes? You're not alone. I've never really understood the concept either. Does the fact that it had to be "remixed" show some incompetency on the part of the original mix engineer? Does he have to return a portion of the money he was paid for the original mix? The usual rationale i've heard is that it was "Remixed for the dancefloor/clubs/etc". What? Was there some focus group that decided the original mix wasn't danceable? Most of the remixes i've heard (and I generally try and avoid them) where they add things that weren't in the original mix, just sound annoying to me. tA  Tribal Disorder
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It's just according to what your idea of a "remix" is. In the 1970s and 1980s, a 12 Inch remix was simply a longer version of the original. The 12 Inch version sounded just like the original version except it had maybe a longer intro, a longer breadown in the middle, a longer outro, or maybe some additional breakdowns or an extended part of the song that sounded a little different from the original version. Sometimes 12 Inches back then might have a few added special effects throughout the song but they were all placed on top of the original version. Remember all the Prince 12 Inches of the 1980s? Those are excellent examples of the type of 12 Inch remixes I'm referring to that most people on this site have probably heard and can relate to.
Prince wasn't the only one though. Everyone that made 12 Inch remixes back then had the same formula. For instance, the Gap Band's 13 minute 12 Inch of "You Dropped A Bomb On Me" is an excellent 12 Inch. It sounds just like the original but it begins with sirens that weren't on the original version and towards the middle of the 12 Inch, the sirens come back along with airplanes flying and machine guns shooting. These are the kind of remixes I love. However, beginning in the 1990s, especially when a lot 12 Inch vinyl singles faded away and CD maxi singles took over, artists started putting three and four remixes on the same CD. These remixes would sound totally different than the album version. For instance, a house version, a hip hop version, a Miami bass version, a new jack version, etc. Most of the time, the only good house songs are the ones that were originally house songs in the first place. And when they start remixing songs of other genres and turning them into house songs, the end result usually sounds generic because the song was not originally meant to be a house song in the first place. And what sounds even more rediculous is when they make a house or dancefloor version of a song that was originally recorded as a ballad. I mean, could you imagine a sexy slow jam like Heatwave's "Always and Forever" being remixed and turned into a song for the dancefloor? It would sound rediculous and it also would take away from and fade the song's legacy of being known as one of the baddest slow jams of all time. The solution is, if people still want songs for the dancefloor (and apparently they must since they keep taking these ballads and midtempo originals and remixing them for the dance floor), then these damn current artists need to start recording uptempo original beginning versions for the albums. I mean, you can't have it both ways. You can't record nothing but dull ass slow to midtempo songs and still think you are going to have dance music. And remixing those songs don't make them any more danceable. That's the difference between the 1980s and today. In the 1980s, they were remixing something that was already a dance song to begin with. If people want to dance today, then they need to start demanding that their artists make dance music. They can't keep on being dull dead asses forever and think some remixer can spruce things up and make them lively. There finally comes a time when the artists themselves have to stop being dead asses and record something funky and danceable themselves. There's only so much a remixer can do. He can't turn someone as rhythmless as Shitney Houston or any of today's artists into Rick James or The Barkays no matter how good a remixer he is. He's just a remixer, he's not Jesus. 
. . . [Edited 3/9/09 13:26pm] Andy is a four letter word. | |
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vainandy said: It's just according to what your idea of a "remix" is. In the 1970s and 1980s, a 12 Inch remix was simply a longer version of the original. The 12 Inch version sounded just like the original version except it had maybe a longer intro, a longer breadown in the middle, a longer outro, or maybe some additional breakdowns or an extended part of the song that sounded a little different from the original version. Sometimes 12 Inches back then might have a few added special effects throughout the song but they were all placed on top of the original version. Remember all the Prince 12 Inches of the 1980s? Those are excellent examples of the type of 12 Inch remixes I'm referring to that most people on this site have probably heard and can relate to.
Prince wasn't the only one though. Everyone that made 12 Inch remixes back then had the same formula. For instance, the Gap Band's 13 minute 12 Inch of "You Dropped A Bomb On Me" is an excellent 12 Inch. It sounds just like the original but it begins with sirens that weren't on the original version and towards the middle of the 12 Inch, the sirens come back along with airplanes flying and machine guns shooting. These are the kind of remixes I love. However, beginning in the 1990s, especially when a lot 12 Inch vinyl singles faded away and CD maxi singles took over, artists started putting three and four remixes on the same CD. These remixes would sound totally different than the album version. For instance, a house version, a hip hop version, a Miami bass version, a new jack version, etc. Most of the time, the only good house songs are the ones that were originally house songs in the first place. And when they start remixing songs of other genres and turning them into house songs, the end result usually sounds generic because the song was not originally meant to be a house song in the first place. And what sounds even more rediculous is when they make a house or dancefloor version of a song that was originally recorded as a ballad. I mean, could you imagine a sexy slow jam like Heatwave's "Always and Forever" being remixed and turned into a song for the dancefloor? It would sound rediculous and it also would take away from and fade the song's legacy of being known as one of the baddest slow jams of all time. The solution is, if people still want songs for the dancefloor (and apparently they must since they keep taking these ballads and midtempo originals and remixing them for the dance floor), then these damn current artists need to start recording uptempo original beginning versions for the albums. I mean, you can't have it both ways. You can't record nothing but dull ass slow to midtempo songs and still think you are going to have dance music. And remixing those songs don't make them any more danceable. That's the difference between the 1980s and today. In the 1980s, they were remixing something that was already a dance song to begin with. If people want to dance today, then they need to start demanding that their artists make dance music. They can't keep on being dull dead asses forever and think some remixer can spruce things up and make them lively. There finally comes a time when the artists themselves have to stop being dead asses and record something funky and danceable themselves. There's only so much a remixer can do. He can't turn someone as rhythmless as Shitney Houston or any of today's artists into Rick James or The Barkays no matter how good a remixer he is. He's just a remixer, he's not Jesus.
. . . [Edited 3/9/09 13:26pm] Great take on it. To pick up on the slow songs getting turned into dance songs, it usually worked well when the song was written in 4/4 time (common time). If the song was written in 3/4 or was a shuffle tempo, it didn't work well. A great example of a horrible one is Diana Ross' "Chain Reaction". That song was a "shuffle" style song originally. When house mixers tried to make it into a dance song it just sucked. You know, I never really paid attention to dance remixes of slow songs until I heard the remixes for Anytime, Anyplace from Janet. That dance remix was excellent. Another good one was Toni Braxton's Unbreak My Heart. **--••--**--••**--••--**--••**--••--**--••**--••-
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daPrettyman said: vainandy said: It's just according to what your idea of a "remix" is. In the 1970s and 1980s, a 12 Inch remix was simply a longer version of the original. The 12 Inch version sounded just like the original version except it had maybe a longer intro, a longer breadown in the middle, a longer outro, or maybe some additional breakdowns or an extended part of the song that sounded a little different from the original version. Sometimes 12 Inches back then might have a few added special effects throughout the song but they were all placed on top of the original version. Remember all the Prince 12 Inches of the 1980s? Those are excellent examples of the type of 12 Inch remixes I'm referring to that most people on this site have probably heard and can relate to.
Prince wasn't the only one though. Everyone that made 12 Inch remixes back then had the same formula. For instance, the Gap Band's 13 minute 12 Inch of "You Dropped A Bomb On Me" is an excellent 12 Inch. It sounds just like the original but it begins with sirens that weren't on the original version and towards the middle of the 12 Inch, the sirens come back along with airplanes flying and machine guns shooting. These are the kind of remixes I love. However, beginning in the 1990s, especially when a lot 12 Inch vinyl singles faded away and CD maxi singles took over, artists started putting three and four remixes on the same CD. These remixes would sound totally different than the album version. For instance, a house version, a hip hop version, a Miami bass version, a new jack version, etc. Most of the time, the only good house songs are the ones that were originally house songs in the first place. And when they start remixing songs of other genres and turning them into house songs, the end result usually sounds generic because the song was not originally meant to be a house song in the first place. And what sounds even more rediculous is when they make a house or dancefloor version of a song that was originally recorded as a ballad. I mean, could you imagine a sexy slow jam like Heatwave's "Always and Forever" being remixed and turned into a song for the dancefloor? It would sound rediculous and it also would take away from and fade the song's legacy of being known as one of the baddest slow jams of all time. The solution is, if people still want songs for the dancefloor (and apparently they must since they keep taking these ballads and midtempo originals and remixing them for the dance floor), then these damn current artists need to start recording uptempo original beginning versions for the albums. I mean, you can't have it both ways. You can't record nothing but dull ass slow to midtempo songs and still think you are going to have dance music. And remixing those songs don't make them any more danceable. That's the difference between the 1980s and today. In the 1980s, they were remixing something that was already a dance song to begin with. If people want to dance today, then they need to start demanding that their artists make dance music. They can't keep on being dull dead asses forever and think some remixer can spruce things up and make them lively. There finally comes a time when the artists themselves have to stop being dead asses and record something funky and danceable themselves. There's only so much a remixer can do. He can't turn someone as rhythmless as Shitney Houston or any of today's artists into Rick James or The Barkays no matter how good a remixer he is. He's just a remixer, he's not Jesus.
. . . [Edited 3/9/09 13:26pm] Great take on it. To pick up on the slow songs getting turned into dance songs, it usually worked well when the song was written in 4/4 time (common time). If the song was written in 3/4 or was a shuffle tempo, it didn't work well. A great example of a horrible one is Diana Ross' "Chain Reaction". That song was a "shuffle" style song originally. When house mixers tried to make it into a dance song it just sucked. You know, I never really paid attention to dance remixes of slow songs until I heard the remixes for Anytime, Anyplace from Janet. That dance remix was excellent. Another good one was Toni Braxton's Unbreak My Heart. Good responses, i know what you mean about 'Chain Reaction' I bought the 'Diana Extended' album a few years back and that was the worst track. Curiously, the older tracks (Someday We'll Be Together and Love Hangover) fared alot better. But i'm off remixes at the moment, the production seems lazy and repetetive to me. |
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Marrk said: daPrettyman said: Great take on it. To pick up on the slow songs getting turned into dance songs, it usually worked well when the song was written in 4/4 time (common time). If the song was written in 3/4 or was a shuffle tempo, it didn't work well. A great example of a horrible one is Diana Ross' "Chain Reaction". That song was a "shuffle" style song originally. When house mixers tried to make it into a dance song it just sucked. You know, I never really paid attention to dance remixes of slow songs until I heard the remixes for Anytime, Anyplace from Janet. That dance remix was excellent. Another good one was Toni Braxton's Unbreak My Heart. Good responses, i know what you mean about 'Chain Reaction' I bought the 'Diana Extended' album a few years back and that was the worst track. Curiously, the older tracks (Someday We'll Be Together and Love Hangover) fared alot better. But i'm off remixes at the moment, the production seems lazy and repetetive to me. I feel where you are coming from. Especially when you start hearing the same music used in different songs. The most recent remixes that I have liked are the Moto Blanco remixes of Spotlight form Jennifer Hudson and the dance remix of Mary Mary's "Get Up". **--••--**--••**--••--**--••**--••--**--••**--••-
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Some remixes are hot, some are not. I know I'm not the only one who loves the first 5 songs on Michael Jackson's Blood On The Dance Floor (the new songs), and hates the rest of it (the remixes.)
If they're done right, unlike those BOTDF tracks, they can be interesting to hear. | |
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shipoffools said: Some remixes are hot, some are not. I know I'm not the only one who loves the first 5 songs on Michael Jackson's Blood On The Dance Floor (the new songs), and hates the rest of it (the remixes.)
If they're done right, unlike those BOTDF tracks, they can be interesting to hear. I prefer the other mixes over the first 5, but I don't hate any of them. **--••--**--••**--••--**--••**--••--**--••**--••-
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It really depends on who's remixing, and what's being remixed.
One of my favorites of the moment, from a great remix of one of the decade's greatest albums. Good night, sweet Prince | 7 June 1958 - 21 April 2016
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Marrk said: Been listening to a few of my fave 80's artists lately (names irrelevant, but they survive to this day. you probably know!) some official remixes put out on CD singles by them, don't know if it's just me, but i find them utterly soulless and boring, where i didn't used to.
Almost like i know the artists didn't have any input into these recordings, weren't there in the studio with the remixer, they come across as totally fake. Maybe i'm getting old (at 38!), i dunno, but remixes don't move or excite me anymore. Is this normal? Should songs just be all they can be without the need for remixes?
[Edited 3/9/09 11:26am] I wouldn't mind remixes if we're talking about electronic dance-pop mixes. I'll vote yay to that. But hip-hop remixes?!? Nay!!! Most of THE worst remixes that I've ever heard are the ones that sounds far worse than the originals! | |
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shipoffools said: Some remixes are hot, some are not. I know I'm not the only one who loves the first 5 songs on Michael Jackson's Blood On The Dance Floor (the new songs), and hates the rest of it (the remixes.)
If they're done right, unlike those BOTDF tracks, they can be interesting to hear. I really hated the remixes, especially the Stranger In Moscow and Earth Song mixes 
Frankie Knuckles' mix of Rock With You should've been included "We may deify or demonize them but not ignore them. And we call them genius, because they are the people who change the world." |
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the person who created the idea of the remix should be put in Jail..thats all i know.. .bad bad idea
remixes will never be greater than the originals ,ever MICHAEL JACKSON
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bboy87 said: shipoffools said: Some remixes are hot, some are not. I know I'm not the only one who loves the first 5 songs on Michael Jackson's Blood On The Dance Floor (the new songs), and hates the rest of it (the remixes.)
If they're done right, unlike those BOTDF tracks, they can be interesting to hear. I really hated the remixes, especially the Stranger In Moscow and Earth Song mixes
Frankie Knuckles' mix of Rock With You should've been included All of the Thriller, Off The Wall and Dangerous 90s remixes should have been made into a compilation. Those remixes are excellent. **--••--**--••**--••--**--••**--••--**--••**--••-
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