'REMIX'
See definitions in:
all broadcasting electronics popular music.
verb: remix; 3rd person present: remixes; past tense: remixed; past participle: remixed; gerund or present participle: remixing
- To mix (something) again.
produce a different version of (a musical recording) by altering the balance of the separate tracks.
"they remixed their first single"
noun: remix; plural noun: remixes
a version of a musical recording produced by remixing.
"eight remixes of the track are featured on the CD"
The very dictionary definition of 'remix' (in the context of music) above tells us it is the refashioning of an original into something new, a new style, a new genre or reimagining of source material.
In the DJ world,I'd say around half the material released is a remix of its original counterpart. Its a rough 'guestimate' but I'm going by the maths that when a dance track is released, especially so on vinyl, the A side is the original and the B side is the remix, which account for 50% of the release. Of course, in today's music world, a digital release can have any number of remixes attached to it because they are not physically restricted to the amount of space on a vinyl record.
But what really makes a remix? For me, its a track that has taken the original and given it a brand new spin, a new aspect, perhaps an aspect that was not expected or 'a bit cleaver'. Remixes are famous the world over, you cant even thumb through the top 40 these days without stubbing your finger on a remix that is sailing high with thanks to the remixer.
Such famous remixers in modern day music include Calvin Harris, who over the past decade or so has reworked some of dance music's biggest names into the dancefloors biggest tracks. My example here would have to be 'Fatboy Slim - Eat Sleep Rave Repeat'. I know Fatboy's music very well so when I encounter a remix which takes the original to another level, it better be good, an I think Calvin smashes it.
Fatboy Slim - Eat Sleep Rave Repeat (original) CONTAINS SWEARING
The original 'Eat Sleep Rave Repeat' focuses more on a narrative, with chunky house beats and occasional squirrely synth. It's good, but if you compare it with what Calvin Harris did with it, he REMIXED it into a full on stadium-size dance anthem. And its THIS version which got the chart recognition and in my experiences, 99% of the playing preference.
Fatboy Slim - Eat Sleep Rave Repeat (Calvin Harris REmix)
Straight in with an acidic hook and a drop that would erupt any dance floor across the world. He took a fragment of the original narrative and turned it into THE HOOK of the song, the 'hook' is something that gets you 'hooked' into remembering it, quite a literal description. Huge acid lead lines, a kick that will rattle your teeth and a bass-line to rumble the atmosphere. It an excellent remix which really DOES electrify the crowd with such a euphoric sense of energy.
Bringing these NEW elements to a pre-existing frame work, brings out not only the best of the original but the flare that the remixer desires to make their remix stand out against the original; stamping their own mark in production. And being a DJ producer myself, its your own mark of individuality which should make the clubber recognise YOUR work above the original and other remixes.
Lets set one thing straight now, remixes are official bootlegs. In the eyes of legality, unless you have permission from the original artist or publishing group, you cannot officially call your 'reimagining' a remix. If you've done the work without the permission, its a bootleg. That aside, that doesn't discredit your work at all. When looking for tracks to play in my DJ sets, I always scour the internet looking for free downloads and bootlegs at it will give your DJ set the edge over anyone else, making you stand out in an over-saturated market. I LOVE a bootleg. It shows creativity and an attitude of 'yeah, the original is ok, but heres my take'.
Labels will also only really chase you if you try and SELL your bootleg. As soon as money is involved, then labels and lawyers wake up. This is just my opinion but as someone who has been 'doing' music for over 20 years as well as studying music business as part of my degree, this is largely the case. I do feel there is a huge underground network for non-commissioned aka bedroom producers to show their skills and production flare through 'fair use' demonstration of their productions.
There have been heaps and heaps of bootlegs and mash ups that have done SO well, they broke out into the mainstream; obviously once the right permissions have been granted for general release which sometimes means deleting the original bootleg from the internet.
Stuntmasters - The Ladyboy Is Mine ( Modjo vs Monika & Brandy)
But back to the remixes. And in particular remixes which have taken an original and turned it to a different genre; an area I am more used to especially with my own production.
Last summer I remixed... ok bootlegged... Massive Attack's Unfinished Sympathy into a deep house track. I fell in love with the original and had such great desire to play it during my DJ sets of the balmy summer evenings of 2020,
Massive Attack - Unfinished Sympathy (original)
So what does a remix need? Well, for a DJ to mix into and out of, the DJ needs a plain beat intro, a kick drum with maybe some percussion that builds in layers between 0 and 64 bars long for smooth transitions in and out of mixes. The remix needed to take the very essence of what the track was about, its mood, its feel, its vibe or message. It needs to perhaps recreate some of the melody in order to take the listener on a journey. Unfinished Sympathy is a stunningly beautiful track, powerful and devastating as a hurricane but fragile and gentle like a butterfly and huge respect wad needed when reworking this timeless classic.
The melody, the sad sweeping strings are the essence of this track so that was what I decided to carry forward in my own re-imagining of this anthem. And like Calvin Harris, I wanted to sustain a build and rise in energy in order for the crowd to feel a 'drop' back into the beats. Coupled with a low bassline which mirrored the main harmony of the original, I feel my remix... ok bootleg!... paid respect to one of dance music's most sacred pieces.
Massive Attack - Unfinished Sympathy (James Black Remix)
Finally, we couldn't take about dance music remixes without mentioned this, which in my eyes, still remains to be one of the greatest reworks of late 20th century dance music. It's Ferry Corsten's reworking of Samuel Barber's 'Adagio for Strings'
Samuel Barber's Adagio For Strings
Trance music already borrows heavily from the classical repertoire, many of the genre's composers are classically trained musicians and the melodies involved in music spawned on the dancefloors of Europe during the late 20th century shows that classic is still alive today, but in disguise behind 4/4 rhythm and searing synths. In 1999, Ferry Corsten released his remix of Adagio for Strings, which had been modernised by William Orbit but still composing of the same melody of Samuel Barber, and it is in my eyes, perfection. To be able to capture the beauty of the original and wrap it into modern day dance music is a work of genius.
So please, enjoy this rework below. I asked in the title 'what is a remix?' well my friends, THIS, this is a remix.
Adagio For Strings (Ferry Corsten Remix)
An interview with Ferry regarding his reworking and production process of 'Agadio for Strings' remix.
Ferry Corsten Interview regarding Agadio For Strings Remix
Remixes have always fascinated me, none more so that the magic of the imagination such as this.
Thankyou for reading.
James
Boom!
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Nice one James! Yeah remixes are pretty interesting - almost a different art form in themselves!
In honour of this post, tomorrow I'm going to listen to ONLY remixes all day!
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