Being a huge fan of both Brian Eno and Underworld, it’s not difficult to guess where I’m at as far as the recent Eno+Hyde collaborations are concerned.
Last year I I did a bootleg mix of a song from Someday World (that was ignored the world over!), and after much dithering, I now offer a remix of a bonus track from High Life, the second Eno+Hyde album.
I was going to use this as overdub material for a remix of “17 Days,” but after cleaning up the sound of the original demo, I decided this was too sweet to mess with. So instead I made a simple re-edit of “17 Days” (available elsewhere) and kept this “enhanced demo” version separate.
This is the second version of my Jefferson Airplane-meets-Soul II Soul mashup.
I don’t like this version as much as the first, even though this one is longer.
You see, when I finished the initial mashup, I thought a relatively short (five minutes) song was a good idea. Mashups are basically jokes, and you don’t want to stretch out many jokes. So, once I felt satisfied with my first mashup, I deleted the mixing files (a little “moving on” ritual of mine).
About a month later I really wished I’d created an extended mix, just ’cause the Airplane II Soul groove was so cool sounding. I remade the mashup, but somehow the second mix doesn’t have the snap, or liveliness the first one did. To my ears at least.
However, since I am a freak for the extended mix, here’s my longer take on the “Today”/”Back To Life” mashup.
The Sounds of Blackness meet Sasha & The Cold Duck — I’m Going All The Way (Cold Duck interpolation)
One of the great motivational tracks of all time. Here I rework Sasha’s remix by re-editing his Soak Vocal and Qat Dub versions, as well as putting myself in the mix.
No clearer sign of a DJ run amok….
A mashup I created using a break-down mix I made of an old disco classic with overdubs from a poem that still rings true.
A more dancefloor-friendly edit I gave Sasha’s remix of “Walk” by Kwabs.
I’d rate Kwabs up there with Seal for intensely-cool debut material–I just wish he could put it all together as an album. Any of his digital EPs are worth a few bucks, although it is annoying that Sasha’s fantastic 10+ treatment of “Walk” is a bit hard to pin down a copy of legally.
While I dearly love Sasha’s mix of “Walk,” I know without trying it’d be a dud with most dancing folk here in the US–too long, too much build-up. So, here I paste together a more to-the-point edit. It’s only at the end that I let things go on a bit, but actually (when spinning for the attention-deficit estadounidense), I’d suggest a fade around 6:15.
A later note:
I’d long considered, and eventually rejected, the idea of a rework of Sasha’s remix. The full 10+ remix he did of the song earlier this year is simply perfect … except that it’s not particularly danceable for most of its duration. So I kept on kicking this one around in my head. On one drive home I began to imagine how it might sound if I were to layer Kwabena’s vocals (which appear during breaks in the directly stated beat) over the instrumental groove sections of Sasha’s remix, where beat and synthesizers abound.
It turned out to be an easy re-edit, since–if you’ve got the funk–Sasha’s remix is actually quite groovy throughout (you just gotta feel the beat in a lot of places), and so the vocal sits effortlessly atop beats and synths. I spent more time carefully tweaking the mix I’d already made than in putting it together in the first place. That’s a good thing.
It also turned out really well, I think. The song is now catchy in all the right places, and it never drags the way the full remix does at times. I especially love an unintended effect I created around the two-minute mark, where the second verse is sequenced with a loop (from a different part of Sasha’s remix) of the essential idea in this song:
But the pressure’s pushin’ me back again
A re-edit and mix I did blending portions of the album version into Tee Scott’s 12″ mix. I love the break Scott created in his mix, particularly its focus on James Mtume’s bassline. However, I’ve also always rather enjoyed the epic vamp-out on the chorus we get with the LP version, so here I decided to work both of ’em.
I’ve wanted to do a mix of this classic disco/soul number for a long time–the two mixes just cry out to be brought ‘back together’–but I’d long been stuck on a fundamental problem. Tee Scott’s mix has a bizarre and distinctive EQ–the loud drum kick sounds almost like it’s been recorded by a mic placed under a carpet within a concrete parking lot. The album version is a ’70s wall of sound, with all the instruments mixed and compressed in and out of the foreground. I finally realized the obvious solution was to make each mix sound just a little bit more like the other–more space for one, more bass for the other.
Lee Cadena’s re-edit was an important bit of inspiration for me in doing my own rework. You can find it here on SoundCloud:
Lcm337 – Roberta-flack-back-together.
Original recording features Luther Vandross, James Mtume and Reggie Lucas as well as Hubert Eaves of “D” Train with Brenda White and Yvonne Lewis of Chic.