-----Original Message-----
From: Neil Fanning <[EMAIL PROTECTED]>
To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>
Date: Thursday, 6 May 1999 21:25
Subject: SS: Review of LAY: The Club Anthems
. The reviewer likes Rollo's take on Exodus
>(as do I -
I am sorry Neil, but I really can,t pick up on anything different or
original in his mixes - to me, it came across as just a lazy shuffling of
set blocks of the track - making it sound like a 12" megamix from the days
of Wham. A remixers job and privilage is to give the track their own special
touche and turn it into a new piece of music that has a beginning and end.
Rollo just pulled it apart, moved a - to - b - and c - to d. And as he
stated in the interview - he wasn,t happy with it - and when a remixer has
the nerve to admit he did a half ass job - and still not try to redeem
himself - in front of the artists that he did the work for - well if I was
in Paul,s position - I would have said "thanks for the respect for our art,
and giving your most to create something special - I hope the cash came in
handy - now fuck off and send me one of your best tracks so I can return the
favour.
I just wish the band would stop going for the big name remixers in hope that
it will generate more club-cred or sales or whatever they use to let it
tilt their decisions. Another example that came about recently was the whole
Trouser
Enthusiests drama. Now SS were the only party involved (from what I have
heard on the list - which can,t always be taken as gospell) that were
actually doing what they had to do - in covering the TE fee by releasing
x-amount of copy,s. Now even that sounds like another remixer (or most
probably their greedy agent) more worried about getting their fee than
producing a remix that they are proud of. There are a lot of very talented
remixers and artists out their that are not big names - but have what it
takes (passion, pride and respect) to give these already great tracks, that
extra special twist. It,s getting too overlooked lately (the quality verses
the big name mix) - and we should all take a step back and look at how much
the remixing side of this industry affects our daily listening and overall
enjoyment level of the genre.
jamie k
I know we spoke about this a while back, but I much prefer the
>Exodus mixes to, for instance, all those "samey" K-Klass mixes of When).
Neil, was it you or Matt who referred to the K-Klassic mix of When as
something like (can,t remember exact quote - but ) 'a drunken warble down
the street after too many beers' - or something to that effect. That
decsciption would have to be nearly perfect in my books. I could never
figure out exactly what it was about that mix that just wasn,t right -
untill I incorporated the drunken warble bit into the 'figure this out part
of my brain'. And now when I hear that mix - it no longer puzzles me - I
fully understand what is wrong. The pitch is off - it swooms in and out of
beat and melody and just basically sounds pissed (now that we can class this
particular style of mixing as - "a k-klassic pissed mix". But if only they
used the happy and fun parts of being pissed for the mix - instead of the
queasy and feeling like you are slightly out of sync with the roof as it
spins mix.
>
>It's a bit disappointing that with so much activity going on around the
>world that there's still no news of any new material in the UK, and no
>mention of "Out Of The Woods". Adam , do you know if it is still on target
>for a summer release, which I think was the last thing said about it? I'm
>also looking forward to all those new releases - No Angel etc
>
>/N
>
>By the way, when were Sunscreem last in Miami? There's another new Sky 1
>series on Sunday nights called "Fabulous" which is focussing on the gay
>scene down there. Any chance SS might feature?
>
>
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