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This is the Remix!: When the Remix is Better than the Original (Part 2)

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A couple weeks ago we were successfully able to determine that Diddy did not in fact invent the remix.

Thus, the dastardly album cover at left — by the way, is Diddy wearing leather pants? — represents a complete fallacy.

Shame on you, Sean.

There is, however, admittedly significant evidence pointing to Diddy’s influence and accomplishments as a remixer — at least within the Hip Hop/R&B community. Many of the examples I gave of songs whose remixes turned out to eclipse their respective originals in terms of either quality, popularity, or both, are indeed the work of Diddy and his Hitmen production crew over at Bad Boy Records. So I’ll definitely give him his fair share of credit for bringing us remixes of “Only You” from 112, “Fantasy” from Mariah Carey, and Usher’s “I Need a Girl.”

All three of these remixes far surpassed their original versions in their measure of street cred and mass appeal, if not in actual chart performance. Yet given today’s differing musical climate, one hot with digital downloads, highly-targeted Satellite radio broadcasts, more music channels than ever, and the overall increased accessibility of music, I would wager that all three remixes would fair far better by Billboard’s measurements today than when they were originally released. Simply put, more people would know about them, more people would hear them, and more people would be able to obtain them, giving the remixes a much broader reach.

In the television industry, viewers are often known simply as “eyeballs” — the more eyeballs your advertisements have on them, the more they are worth. The same should hold true in the music industry: the more “eardrums” a certain song attracts, the more valuable it becomes and the higher it rises on the music charts. For example, as of this writing Lil Wayne’s “Lollipop” is the number nine song on iTunes’ top downloads. Song number ten? The remix of “Lollipop” featuring Kanye West. Similarly, the album version of Usher’s hit “Love In This Club” sits at number forty-eight. The remix, “Love In This Club Part II,” sits at number forty-nine. In both cases the original versions were officially released well ahead of their respective remixes, so given enough time, it’s entirely possible that the remixes will end up being downloaded as much, or more, than the original songs.

Okay that’s enough outta me.

I promised a second installment of songs whose remixes eventually became more popular than the originals, so let’s get to part two of this ever-expanding list:

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The Friday Writers’ Bloc: May 23rd, 2008

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Download this week’s Friday Writers’ Bloc Playlist HERE

Michael-Bradley’s Picks

1. Health- Perfect Skin

These LA Noise rockers have been doing it for a while, and I’m happy for them they’re getting some press. When I finished listening to this album (their newest and first- self titled LP) I felt nothing but pure jealousy. I wish I made this record! Congrats dudes on making a terrific album, beautifully blending noise with some enjoyable grooves. This song is sort of like their slow single, but I think when loud can sound pretty epic.

2. Tera Melos- Last Smile For Jaron

I wrote about these guys early on, but I never uploaded a song. I saw them perform again two nights ago while opening for the Fall of Troy. These guys freakin’ shred and I wished everybody knew it. They smash around between math rock melody, and more experimental sounds. This is off their Split with By The End of Tonight, title Complex Full of Phantoms. Primarily an instrumental band, this album was their introduction of vocals. I think that typically can be dangerous for an instrumental band, but like Battles did with Atlas, they seemed to have found a tactful way of doing it without drowning the music with lyrics. Instead the vocals are just used as another instrument. This song melts me down in a few places, I’d tell you where, but you should just listen to it through and figure it out!

3. Sleepytime Gorilla Museum-Ambugaton

This song has amazing lyrics. Here it is :

“Ambugaton!”

Yea, that’s it. Sleepytime Gorilla Museum is a terrific folk metal band that goes through lots of different and very unique/ bizarre sounds. You should try them out, so if nothing else you can say you’ve heard Sleepytime Gorilla Museum. I really have more trouble describing these guys more than most bands. But take the ride that is Ambugaton. It seems to go from edgy classical music, to metal. The whole song is a giant build up to the one lyric, AMBUGATON! Liner notes point to Hank Williams as author of the lyric…….

Jonathan’s Picks

1. Cam’ron – Weekend Girl/Weekend Love

So as far as I’m concerned Memorial Day Weekend is the official start of summer. Forget June 20th. At least in New York it is — offices are vacant by noon, restaurants are empty at the usual dinner rush, and perhaps most importantly, tank tops and mini skirts return. A close second, however, is that inevitable — and often indomitable — summer anthem, the one song that signifies an entire summer in your life. Three months boiled down to three minutes. And you never forget ’em. This Friday I’ve chosen three songs that hold memories for me of recent New York summers past. First, summer 2006: Cam’ron samples/jacks The S.O.S. Band‘s 1985 single, “Weekend Girl,” with great success despite the fact that the track remained largely underground, and was never released on any official album (thus the uncertainty over its actual name). Although sped up slightly from the original “Weekend Girl,” Cam’s song maintains a summery, breezy feel from the first bars, which is further reinforced by his playful, almost lazy, flow. While I refuse to buy into Pitchfork’s identity as the sole arbiter of musical excellence, it’s worth noting that the notoriously tough critics rather remarkably named Cam’ron’s highly unofficial summer anthem to the web site’s Top 100 Tracks of 2006. And for once, I definitely agree with them. This track has flown under the radar for far too long.

2. Kevin Lyttle Feat. Alison Hinds – Turn Me On (Mad Hatters Ball Mix)

Summer 2004: What started out as a laid-back soca ballad featuring well-known reggae artist Spragga Benz back in 2001 was eventually remixed three years later into the summer club banger “Turn Me On.” With a much more uptempo, dance floor-ready beat that plays musical Twister — one foot on reggae, one hand on soca; other foot on reggaeton, other hand on dancehall — by straddling those multiple genre’s, Kevin Lyttle’s introduction to flat out bum-rushing of the U.S. market (the song reached number four on Billboard’s Hot 100) spawned many a drunken hook up in the sweat-soaked bars and clubs of NYC, with some patrons (libidos racing) trying just a little too hard to emulate the moves they saw in the music video for “Turn Me On.” I remember being incredibly amused by this on numerous occasions, as some people actually fell. Like, a lot of people, actually. Unfortunately, 2004 was a hot and sticky summer in New York, and this song only served to make things worse.

3. Lumidee Feat. Busta Rhymes & Fabolous – Never Leave You (Uh Oooh, Uh Oooh) (Remix)

Summer 2003: My god this song was hot back then. That’s all I remember. (Busta Rhymes even warns of its power in the opening line…”Ayo Tedsmooth it looks like it’s gonna be another one of them hot summers…”). Of all three tracks, “Never Leave You” was probably the most ubiquitous during its spectacular summer run. You just couldn’t get away from it no matter where you went: TVs, radios, cars, bars, and house parties bumped Lumidee aka The Queen of Spanish Harlem for three straight months. It swept New York. And the video — ohh man the video was so good too — was really the perfect reflection of the record’s street roots; basically just a huge Spanish Harlem block party up on 2nd Avenue and 119th street with corner boys posted up, Puerto Rican chicas dancin’ up a storm, Busta Rhymes shadily lurking in a bodega, Fabolous rappin’ in front of a corrugated steel garage door, 5-0 on hand (as always), and little kids all crowded around the DJ. (Side bar: I just realized upon rewatching the video that Lumidee’s love interest — a corner boy — is played by none other than corner boy extraordinaire Bodie Broadus — played by J.D. Williams — from HBO’s The Wire, aka the Greatest Show of All Time. Small world). Now I say “street roots” because the great thing about this song is that it had no business being a hit record, let alone an athemic one. It was produced by no-name neighborhood DJ and producer Tedsmooth, who blatantly hijacked the already known Diwali Riddim (you’ll remember it from Sean Paul’s hit, “Get Busy,” as well as one of my old favorites, “No Letting Go” by Wayne Wonder) and sung by a no-name local teenager who could sort more or less carry a tune, named Lumiana DeRosa. (What, you thought she just pulled that name out of thin air?) And yet, a street anthem was born. Busta was right too, it was a hot summer.

JustJake’s Picks

1. John Prine- Angel From Montgomery

This week’s picks honor one of my favorite songwriters, John Prine. Another one of those so-called “songwriters’ songwriters,” Prine has written some of the saddest, funniest, and most poignant songs in the Americana songbook. Along with most songwriters in this category, Prine has been covered time and again, often with his songs reaching a broader audience in the hands of better-known artists. You might recognize this first song as a Bonnie Raitt, Carly Simon, Susan Tedeschi, or Tanya Tucker tune; it’s actually Prine writing from the unique perspective of a broken down housewife.

2. Jim & Jesse and the Virginia Boys- Paradise

All three of these songs were first recorded by Prine on his tremendous, eponymous first album (1971). Shortly thereafter this track became somewhat of a standard in the newgrass movement and this is a cut done by Jim and Jesse McReynolds, one of the sibling super groups that helped shape bluegrass music. You can also watch Prine perform the song here.

3. John Prine- Illegal Smile

More than just a stoner anthem, this song is one of the more cleverly written tunes out there, and my personal Prine favorite. The whimsical melody and playful lyrics help cover up the pain and sadness that lurk just below the song’s surface.

Download this week’s Friday Writers’ Bloc Playlist HERE

This is the Remix!: When the Remix is Better than the Original

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Okay so P. Diddy didn’t actually invent the remix.

No shit.

He was probably not even born yet when Tom Moulton began doing dance remixes in the late 1960s, and wasn’t even ten years old by the time pioneering DJs and producers like Walter Gibbons, Tee Scott, Larry Levan, Shep Pettibone, and François Kevorkian were already deeply ensconced in remixing disco records. So, sorry, Diddy.

But it’s true that over the next fifteen to twenty years, particularly in the 1990s, Diddy and his Bad Boy Records production crew (aka The Hitmen) would have a hand in some truly great remixes, many of which were major improvements upon already popular songs from artists like 112, Mariah Carey, Mary J. Blige, Total, Usher, and Jennifer Lopez.

And it’s not just Diddy either — far from it. The remix has been prevalent in hip hop music since the genre’s inception, as DJs would essentially “re-mix” tracks (sometimes without even knowing what they were doing) by extending the breaks or most danceable portions of the records in order to satisfy the breakdancers and b-boys of the day. And the tradition of remixes in hip hop has stayed strong to this day — only growing stronger and more common with the advent of the mixtape (thanks DJ Clue, Green Lantern, Whoo Kid et al.) — as almost every track released seems to be followed by an “official” remix, along with a few other “unofficial” remixes (often just the same beat with a different rapper spittin’ on it) from various mixtapes and websites.

But what I’m most interested in is when the remix clearly becomes better and more popular than the original track itself, and not solely in the world of hip hop. Sometimes this means a complete overhaul of the track, as with Usher’s “Love In This Club (Part 2 Remix)” or “Everyone Nose” by CRS & Pusha T., and sometimes it just means adding some guest verses, as in Day26’s “Got Me Going” remix, which simply adds verses from Fat Joe and Rick Ross. (Note: the song is still lame, but not as lame).

So even though we’re not gonna hit them all — and they definitely won’t all come from the Bad Boy camp — I’d like to throw out some of the best examples of what I’m referring to, some classic, some current. Hopefully y’all can add some more to this list. Now this is not to say that the originals were bad in any way, most were already hot, just that they were eventually eclipsed by their respective remixes.

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