Fred again.. Justin Wellington, Small Jam, Imanbek. Zara Larsson. Laidback Luke, Tribbs, Bertie Scott. StarBoi3, Doja Cat, Sickick. James Arthur. Shouse, Robin Schulz. Farruko, Robin Schulz. Tom Grennan, Billen Ted. Alan Walker, Alok, Imanbek. Rauw Alejandro, Caleb Calloway. Zara Larsson, Alok. Dennis Lloyd. Rag'n'Bone Man, P! Junior Jack, David Penn. Nea, Felix Jaehn. Dennis Lloyd, Felix Jaehn. Why So Sad. Regard, Jonas Blue.
Jason Derulo, Nuka, Secondcity. As originally produced, this Mike Posner track is a melancholic, acoustic look at the dark side of fame.
In the hands of Norwegian producer Seeb , the melancholy remains. It's just that, with the new trop-house production, you could now dance through your tears. Bet you didn't know that the version of this Britney Spears hit off her first album, 's …Baby One More Time , that you're most familiar with is actually a remix! When it was tapped for inclusion on the soundtrack for the teen movie Drive Me Crazy , Brit and producer Max Martin hit the studio to re-record the vocals, giving the song a new intro and its iconic "Stop!
And the rest is history. Lana Del Rey 's pop ballad is gorgeous in its own right. But in the hands of French producer Cedric Gervais , it became an absolute house and Eurodance hit, ready to take 's dog days of summer by storm. You'll just have to close your eyes and relive all the onstage spit-swapping in your imagination. And yes, that makes a total of four appearances for Britney on this list.
After Lady Gaga and Christina Aguilera debuted a reworked version of this controversial track off her album ARTPOP live on The Voice , it proved to be the perfect tonic for those with a bitter taste left in their mouth thanks to R.
Kelly 's inclusion on the original. And now that the original has since been scrubbed from existence on all streaming platforms, this far superior collab is, rightfully, all that remains. We liked this track when it was just Lorde by her lonesome on her album Melodrama.
But we absolutely loved it when Khalid, SZA and Post Malone came aboard the remix, each singing new verses they wrote themselves. The original version of this song, featured on Kylie Minogue 's album Body Language , is one of the very best of her career. It's risky to mess with near perfection, but that's what the Chemical Brothers did. Luckily for them, it paid off. Their propulsive production kicks the whole affair into overdrive.
It's a force. In , Sean Combs as the erstwhile "P. While the release was a chart-topper, featuring re-workings of antecedent hits from his stable of pop-rap artists, the album title itself was largely received with confusion and even derision. Who does this guy think he is? Who is 'WE? The essential idea of remixing — taking an existing recording and changing its fundamental parts to create a new interpretation of it — first began in Jamaica in the s at the hands of men of African descent.
Trailblazing producers like King Tubby and Lee "Scratch" Perry were trying to create alternate versions of the popular reggae tunes in Kingston's booming dancehall scene. Their approach was to completely re-record a track, thus "doubling" or "dubbing" it, using primitive equalization and sound processing gear to remove vocals and isolate the underlying rhythm, usually just the drums and bass. Next they would add special effects like echo and reverb to highlight certain parts of the track and warp it into a sexy, tripped-out instrumental.
These spare "dub" mixes provided ideal music beds for the dancehall MCs — called "DJs" — to perform over, in an early form of rap called "toasting. It's worth repeating that this was the s. Moving into the '70s, the Jamaican diaspora throughout the world brought musical innovators to seminal locations for the advancement of DJ culture, in particular New York City and London. In the modern era, the remixer has evolved from an exclusive club of elite producers hand-picked by major record labels, working in multimillion-dollar studios and paid hefty fees, to a massive swarm of anonymous kids working in dank bedrooms, using cracked software, and paid nothing.
Today, "remix" is everywhere. It's part of the pop vernacular, propelled by the EDM phenomenon. Soda, candy, clothing, cosmetics, consumer goods of all kinds As a culture, it is now about as corporate and lily-white as it gets. But its origins descend directly from Jamaica and black men. THEY invented the remix. So what makes a great one?
What is their purpose? What are the musical and production values that make them work? And, considering these factors, what are some of the Greatest Remixes of All Time? Strobe — also an avid dance music historian and vinyl junkie — dug through his collection to come up with this list of 15 gems, a few handfuls of the best ever, and a cross section of genres, styles, and eras. Str obe: Most people think this is the original, but the album version of this track is starkly different, a folksy-pop tune typical of EBTG during this period.
Few records have ever stopped me in my tracks and made me run to the DJ booth, but this is one of them. The fact that it was Todd Terry just made it sweeter. Twenty-two years later, it has never been officially remixed again or bootlegged better.
This enduring classic was spawned from Stonebridge asking Champion Records if they had any demos lying around. The original was very Euro-Pop and lacked any of the hooks that made this one of the greatest remixes ever. One of the two most famous Korg M1 organ hooks appears on this remix, and it is instantly recognizable on any dance floor anywhere in the world. That hard hitting snare actually had a kick behind it which made it so upfront.
Stonebridge added a really nasty bass part overtop to round out one of the most hook-filled remixes of all time.
Over the years, this record has been remixed, remade, sampled, bootlegged and covered but none have even come close to the Stonebridge remix. I first heard this in at Tracks in DC. The original version was an earlys disco-tinged club track and contained none of the sounds that MK infused into his remix.
The only original elements used were select vocal snippets arranged in his signature cut-up style.
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