As soon as the House sound left the local underground and went to the international charts, the Major record labels began scouting its most prominent artists for remix duties. The main motivation was to lend some credibility to mainstream and commercial club music, the same as it was in the Disco era that led up to House music’s pioneering days. A lot of the prolific remixers, particularly those already active throughout the early to mid 80s, could extend their career well into the following era. But there were a lot of additions too, DJs that began in the Disco era and did not give up on dance music when the classic Disco era ended at the end of the 70s, and of course new talent that just found their into the business by supplying the platters that mattered on the floor. And as it happened with Disco, House formed the basis for reworks of Pop originals that managed to surpass the original versions, either in truthful versions that just updated the beats and grooves, or more adventurous flipside dubs that stamped the self-confidence of the studio newcomers all over their source material. Here are some outstanding examples for the interaction of overground and underground.
Jimmy Somerville – Comment Te Dire Adieu (Kevin Saunderson Remix) (London, 1989)
Kevin Saunderson was hot property after the chart success of his project Inner City, but the A&R department at London probably did not enlist him to show off his underground signature of granite beats and excavating basslines, turning Somerville’s charming rendition of the Serge Gainsbourg classic into a Detroit Techno banger of the variety of Saunderson’s aliases such as E-Dancer and Reese. It’s a stunning soundclash of both original version and remix though, and both sides remain in character, and both benefit from each other. As it should be.
De La Soul – A Roller Skating Jam Named “Saturdays” (6:00 AM Mix) (Tommy Boy, 1991)
Not long after Frankie Knuckles and David Morales formed Def Productions they became to 90s New York House what Gamble & Huff were to 70s Philadelphia Soul, and turned in remixes in a sleepless studio schedule, week in week out. What distinguished them from most of their peers was that they managed to maintain a supreme quality standard while at it, for years. Here David Morales reworks De La Soul coming back from the Daisy Age with their feelgood hit for the weekend, offering three superior deep jams that are all equally brilliant. Buy double copies and just zip on by (spinnin’ and winnin’).
The Sugarcubes – Hit (Sweet’N Low Mix) (One Little Indian, 1991)
Björk the icon of clubland was not inaugurated with „Debut“, but with the remix compilation „It’s-It“ by her former band The Sugarcubes. The remixes compiled were a diverse set from which the Tony Humphries versions of „Hit“ and „Leash Called Love“ stood out (well wait, Tommy D’s remix of „Birthday“ is mighty fine as well). The record company even called them „those absurd large Tony Humphries mixes“, and deservedly so. While „Leash Called Love“ is pumping and rolling towards David Morales territory, a spectacular anthem in its own right, „Hit“ has the more typical sound associated with the New Jersey don, with all the unashamedly artificial string pads and tinny beats he so loved to use around that time, and everything about it is completely irresistible. „This wasn’t supposed to happen“, she sang. But it was.
Debbie Gibson – One Step Ahead (Masters At Work Mix) (Atlantic, 1991)
Debbie Gibson preceded the all-american stardom of Britney Spears by a decade, but when she surfaced in the late 80s the only thing that she could stick in my mind was the rather remarkable song title „Electric Youth“. I suspect Masters At Work felt similarly, as they kept literally no elements of the original song in what became one of their most beloved remixes (although there are admittedly quite a few other contenders in their vast discography). This is one for the true school Deep House fraternity, keeping you locked with a simple but unmatched hypnotic chord, while all the other sounds and rhythms come and go, creating a perfect trip that seems to last much longer than its 5 minutes plus.
David Bowie – Real Cool World (Cool Dub Overture) (Warner Bros., 1992)
Credible dance remixes for the original Star Man are surprisingly scarce, and this is arguably the finest. Def Mix’s Satoshi Tomiie at the controls, thankfully not repeating the cardinal error of most rock stars trying to connect with nightlife: mounting generic guitars on a limp dance groundwork. Instead he opts for a rather skippy groove, but his trademark keyboards are arranged immersed enough to keep up the tension for sublime 13 minutes. And don’t you dare touch that intro!
Jamie J. Morgan – Why (Extended Club Mix) (Tabu, 1992)
The contributions of the Buffalo collective to late 80s and early 90s club culture are not to be underestimated (associate Neneh Cherry did not reinvent herself with „Buffalo Stance“ for nothing). Photographer and director Morgan was another core member, and also had a few ventures into pop music. Eric Kupper, the studio wizard responsible for countless New York club classics, turns the original into a silky floating groove, with just about the right amount of floor pressure to not disturb the beauty and sentiment. As always when Eric Kupper works with this very mood, it is untouchable. And again, don’t you dare to touch that intro.
Pet Shop Boys – Can You Forgive Her? (MK Remix) (EMI USA, 1993)
There are many great remixes of Pet Shop Boys songs, but if there is one grudge to hold against them it is that it could have been so many more. Few successful remixers employed for pop artists had a contrasting signature sound such as Detroit’s MK, who turned source material into something completely his own with perplexing regularity. And as expected he turns the boisterous original into a mean and dark swinging groover. There are a lot of speculations on how Marc Kinchen chooses the lyrical content for his trademark vocal loops, but lesser minds would probably have gone for the „she made you some kind of laughing stock, because dance to Disco and you don’t like Rock“ bit. Instead he opted to accompany the breakdown with „Pain. She demands my pain. She demands meet your pain. She demands my bicycle“. This cannot be random, this is pure genius.
Daniela Mercury – O Canto Da Cidade (Murk Boys Miami Mix) (Sony Latin, 1993)
I do not know what led the A&R department at Sony to choose the Murk Boys to remix one of the most popular songs in the oeuvre of one of Brazil’s most popular female singers, maybe somebody thought at least it has something to do with Latin music?! However intended, it was a bold move. As per usual, Miami’s finest ignore whatever anthemic qualities they could have used with the original parts they were given (apart from a puzzling vocal loop worthy of MK), and strip everything down to their tried and tested booming grooves and monolithic basslines. Compare the original to this mix to get a glimpse of how radical and nonchalant you could treat your employers and get away with it. The intro? Do not dare to touch it!
Deee-Lite – Try Me On (Plaid Remix) (Elektra, 1996)
Deee-Lite assembled a diverse array of remixers for their compilation „Sampladelic Relics & Dancefloor Oddities“, but it was Plaid’s mix that seemed to kick them off their holographic hoopty just before they actually disbanded. This is not playfully psychedelic, it is REALLY tripping. Try to imagine the three of them throwing their wonderful stage moves to this eerie low riding sub bass adventure, it is just not happening. But times had changed, and times were not day-glo anymore. But Deee-Lite went out with as much style as they entered.
Mama Cass – Make Your Own Kind Of Music (Yum Club Mix) (MCA Soundtracks, 1997)
Hot on the heels of the soundtrack to „Beautiful Thing“, which consisted almost entirely of songs sung by The Mamas & Papas’ Mama Cass, came this 12“. Louie „Balo“ Guzman was more renowned for the harder variety of the New York House sound of the 90s, but then again a lot of his own productions and remixes already displayed the healthy amount of eccentricity required for the task of transforming a 60s Pop standard into a 90s club anthem. The way he molded the song into a working club track structure is beyond virtuoso, and the added instrumentation even adds to the song’s beauty. You may think this is really tacky (and flutey), but think again. If played at the perfect moment, this record can change lives. I have seen it happen.
M.K.-Allstars – Bohemian Rhapsody (Acapella) Betty Boo – Catch Me (12“ Version) The Other Two – Selfish (That Pop Mix) Propaganda – Your Wildlife (Wet N Wild Mix) Led Zeppelin – Babe I’m Gonna Leave You Elton John – Rocket Man (Junior Vasquez Vocal Remix) Cher – Walking In Memphis (Shut Up And Dance Mix) New Order – Round & Round (Detroit Mix) Billie Ray Martin – Your Loving Arms (Tee’s Miami Club Mix) La Rissa – I Do Both Jay & Jane (Original Rave Mix) Freddie Mercury – You Don’t Fool Me (Queen For A Day Mix) Whitney Houston – The Greatest Love Of All (Club 69 Remix) Sybil – The Love I Lost (Unrequited Mix) Mama Cass – Make Your Own Kind Of Music (Yum Club Mix) John Paul Young – Love Is In The Air (Strictly Dance Mix) Jamie J. Jones – Why (Extended Club Mix) Deacon Blue – Will Will Be Lovers (DB Mix) The Sugarcubes – Hit (Pinstripe Mix) Betty Boo – Thing Goin’ On (MK Underground Mix) Saint Etienne – Who Do You Think You Are (Strobelight & Platform Shoes Mix) D:ream – U R The Best Thing (Def Klub Mix) Rozalla – Faith (In The Power Of Love) ABC – Love Conquers All (The Morales Mix) Gloria Estefan – Tradición (Musto Traditional Mix) Bee Gees – Paying The Price Of Love (The Ocean Drive Mix) Michael McDonald – All We Got (Never Enough House Mix) The Party – Free (Hurley’s 12“ Without Rap) David Bowie – Real Cool World (Cool Dub Overture) Commanding Language – Einsamkeit (Peter Alexander Mix)
Dee Dee Brave – Can’t Get Over It (Untitled Mix 3) 3 A.M. – I Love This Place (Second Place) Unation – Dreaming (Deep Down Dub) Trey Lorenz – Photograph Of Mary (Moody Dub) Elastic Reality – Cassa De X (Crowd Da’ Floor Vocal Dub) Deee-Lite – Thank You Everyday (The Spirit Mix Pt.2) Black Sheep – Strobelite Honey (Def Version) The Sugarcubes – Leash Called Love (Nu Beet) Scott Sellars – Let’s Dance Shall We? Instrum – Say Yeah (Say Wine Mix) Todd Terry – Logan’s Running House 2 House – Hypnotize Me (Trance Mix) Sound Design – Razen Theme The B-52’s – Tell It Like It T-I-Is (MK Dub) Pizarro Feat. Donna Blakely – Mine Forever Mine (Deep Street Mix) Jovonn – This Thing Is Jammin Shake – Ying Yang (Frictional Mix) The Swing Kids – Good Feelin’ (TNT Bonus Beats) Adolfo – Do I? (Ivan Iacobucci 6:AM Mix) Joe Roberts – Back In My Life (Classic Mix) Jimmy Somerville Feat. June Miles Kingston – Comment Te Dire Adieu (Part 2) Ce Ce Peniston – Searchin’ (Silk In The House Mix) Saundra Williams – I Want It, I Need It (Real Love) (MK’s Real Dub) Unknown Artist – Untitled DJ Pierre – Let The Music Take You Higher (Original Yo Yo Mix) Space 2000 – Release Me (DJ Pierre Vocal Mix) Shock Wave – The Mental Track (The Love And Sex Mix) Inner City – Pennies From Heaven (Kevin’s Tunnel Mix) Mind Readers Feat. Malik Hart – Living My Life Underground (Extended Club Mix) The Party – Free (Hurley’s 12” Without Rap) Betty Boo – Catch Me (Def Version) Visions – Is This Real? (Obsessive Club) Jovonn – Pianos Of Gold Davina – Don’t You Want It (Extended) Community Feat. Fonda Rae – Parade! (T.M.V.S. Mix)
Ich möchte heute die Rubrik dazu nutzen, um auf ein eher weniger beachtetes Opfer der Musikwirtschaftskrise hinzuweisen: den housigen Undergroundmix für normalerweise nicht housige Artists. In Zeiten, in denen Remixbudgets von Majorlabels die Beträge für die Praktikantenbetreuung nicht mehr übersteigen dürfen, A&R-Leute mit noch wesentlich mehr Verspätung ein Ohr von außen an die Mauern der Clubs halten, oder sich allgemein eingeredet wird, der Auftragsproduzent des Originaltracks könne die Dance-Version bestimmt auch gut machen, können sie nicht mehr wohl gedeihen, die seltsamen Blüten, die entstehen, wenn Bürostrategen, die nicht tanzen, auf Produzenten treffen, die nur bedingt in Chartsnotierungen denken. Die Blütezeit dieser Untergattung der House-Historie ist von den spätern 80ern bis Mitte der 90er datierbar, als krude Illusionen von Tanzflächenkredibilität gepaart mit prallen Marketingkampfkassen auf die Crème de la Crème der Clubkultur trafen, oder auch nur auf die Auftragsallzwecktypen, die sich für keinen Auftragsallzweck zu schade waren. Letztere gab es in der Clubkultur schon seit immerdar. Konzentrieren wir uns also lieber auf die Ersteren. Und vernachlässigen wir auch die Grundvorrausetzung dieser schiefen Konstellationen, nämlich dass sowohl Auftraggeber als auch Interpret das Endergebnis völlig gleichgültig ist, bis hin zur kompletten Verleugnung desselben bzw. peinlicher Zurschaustellung von nicht einmal Einviertelfachwissen, wenn die Dance-Version unerwarteterweise die Originalversion in Verkaufszahlen übertrumpft. Demgegenüber liefern die housigen Undergroundmixer zumeist genau das, was den nicht housigen Artists nur allzu offensichtlich fehlt. Die selbstverständliche Anbindung an Geschrei und Arme in der Luft, Schweiß, Sex und Tränen der Augenblicks-Ekstase und des Wochenendglücks. Und den Beweis, dass die jeweilige Zauberformel mit jedem Interpreten und Song funktioniert, solange man sich die Werktreue für die Radioversion aufhebt, und in den Dub- und Instrumentalversionen den dicken Hund von der Leine lässt. Es gibt sehr sehr viele Platten, wo dieses Prinzip hervorragend funktioniert, und dann Menschen auf der Tanzfläche zu Interpreten ausflippen, über die sie im Tagesgeschehen nicht einmal nachdenken würden. Indiskutables Popgeträller wird zu rhythmisch zerhackten Samples ohne stimmlichen Wiedererkennungswert, und Masters At Work machen aus Debbie Gibson, MK aus Bette Midler, DJ Pierre aus Donny Osmond, Shep Pettibone aus Paul McCartney, oder David Morales aus U2 unantastbare Clubikonen, für die Dauer des Tracks zumindest. One Little Indian hatte z. B. 1991 die merkwürdige Idee, ihre hauseigenen Indie-Superstars, die Sugarcubes, mit einem ganzen Remixalbum in der Clubszene zu vertäuen. Darauf waren, einige Mixe stinkenfaul, einige am Thema noch mehr vorbei als überhaupt befürchtet, einige uninteressant, einige interessant und einige waren echte Prachtexponate. Klarer Sieger des Wettbewerbs war für mich Tony Humphries, der seine schon anderswo demonstrierte Fähigkeit, großzügig eine Schicht New Jersey-Zauber über artfremde Musik zu legen, hier noch weit übertraf. Und er schaffte es, obwohl er sowohl alle kaprioligen Gesangsmanierismen der Sängerin unangetastet ließ, als auch dem knurrigen Sängerhünen seinen Lauf ließ. Im wunderbaren Klanguniversum von Humphries zu seiner besten Schaffensphase hat das alles seinen Platz, und wird zudem noch von allerlei feinsten Geistesblitzen erhellt. Für Humphries mag das nur eine Episode geblieben sein, aber Björk kehrte nie wieder zu Schrammelpop zurück, und für alle anderen war es ein gleißendes Himmelslicht im zwielichtigen Dunst von Körpern und Substanzen.
„This wasn’t supposed to happen, I was happy by myself, accidentally, you seduced me, I’m in love again“.
The Sugarcubes – Leash Called Love / Hit (One Little Indian, 1991)
We’re still wiggling from the fabulous boogie investigation that was Druffmix 4, but that Druffalo Hit Squad won’t stop for long. And you know us, we’re equipped with hearts and taste buds of equal grandness, and we’re going to use it. So let us take us you on a sentimental journey that embraces the meltdown of most supreme moments in House Music and P-O-P, incorporating some of our favourite adoration targets, as remixed by classy top old boys from Chicago to Madchester and all points in between. On display: classy divas of all genders, startling cover versions, in your face camp, boundless love, utter confusion, hip swing, liberation anthems, hedonist mantras, and pianos pianos pianos pianos pianos pianos
Brothers and sisters, you better believe in the gospel according to…
Ziggy Marley And The Melody Makers – Power To Move Ya (Smoove Power) Jimi Somerville – Heartbeat (E-Smoove Anthem 12” Vocal) Bruce Roberts feat. Elton John – When The Money’s Gone (E-Smoove Club Mix) Billie Ray Martin – Your Loving Arms (Sound Factory Vocal) INXS feat. Ray Charles – Please (You Got That…) (Club Mix) The Sugarcubes – Birthday (Tommy D Mix) 10000 Maniacs – More Than This (TNT Extended Mix) Yazz & Aswad – How Long (Earl’s Whirl) ABC – The Real Thing (Frankie Knuckles Mix) Pet Shop Boys- Being Boring (Marshall Jefferson Remix) The Associates – Heart Of Glass (Auchterhouse Mix) Dr Robert & Kym Mazelle – Wait (Long) Double Dee feat. Dany – Found Love (Historic Danny Tenaglia’s International Mix) Latour – Cold (Ralphi’s Club Mix) Julio Iglesias – Guajira/Oye Como Va (Main Pass) Sisqo – Incomplete (Jonathan Peters Mainstream Extended) Ultra Naté – Free (Mood II Swing House Mix) M People – How Can I Love You More (Sasha’s Master Mix) A Certain Ration – Won’t Stop Loving You (Bernard Sumner Remix) De La Soul – A Rollerskating Jam Names Saturdays (6:00 A.M. Mix) Scandalous feat. MJ White – Still Irresistible (Club Vocal) Jackie 60 pres. The Jackie MCs – The Jackie Hustle (Johnny D’s Duelling MC Mix) Uncanny Alliance – I’m Beautiful Dammitt! (Radio Version)
(Patti Labelle’s “Eyes In The Back Of My Head” is heard from the hotel bar nearby…)
That’s a big song for us. I’ve got eyes, eyes in the back of my head, I got eyes. Some wicked song. Anyway…
We’ve got this section called legends. This is where we would like to present you.
Okay. (Waiter brings a bottle of champagne) Thanks … You can have some, too, what the hell. He should bring some more glasses. Could you bring some more glasses? Thank you. Okay. So, what do you want to know?
You’ve got a long history, but you just started a label. So it would be great to hear things of the past and what you plan for the near future too. If you have look at which kind of electronic music history people refer to, it’s mostly Detroit and Chicago and New York. When it comes to New York, it’s mostly Hip Hop. Not that much house. I think House is for a special crowd.
You mean currently? That what you feel it is currently?
Yeah. It seems like people don’t really recognize the long history of House music in New York and don’t give it the attention it deserves.
Well, I believe it’s inclusive of too many different types of other genres. That’s what. It’s like too big of an animal to control. I think it’s too big of a genre because it’s inclusive of too many other little parts for the investors to try to really build upon. What I mean by that is that it is fragmented into Soulful House, Latin House, so many different types of House. Forget about it. Everybody likes to hold their own part of House music historically, so much. They all feel equally important. And it’s just too big for, like, majors to really get behind. That’s what I believe. Read the rest of this entry »
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