Originally posted by SYSTEM-J
I totally disagree with this, for two reasons. Firstly, a record that is famous just for its distinctive hook is surely far more open to remixing, because you can transpose that hook into many different styles and contexts. It also implies that the rest of the track isn't very memorable, and therefore more disposable. And secondly, I don't agree that Greece 2000 is "all hook" anyway. My favourite thing about Greece 2000 is the rumbling bassline and percs, which together are far groovier than the majority of your breakdown-melody trance classics, and indeed most of the remixes that have come out down the years.
Quite right. I wouldn't mind a good remix of Greece 2000 that actually takes that groovy aspect as its basis and incorporates the "hook" in some modest way.
Compare AMbassador - The Fade, initially released around the same time on Smash Trax and sounding very close to Greece 2000. Technically it's very much the Dutch sound of the Rank 1 guys, yet it wasn't licensed by Platipus for no reason, and it wasn't for no reason that some of the big prog djs played it. Sasha certainly played the Oliver Lieb remix, perhaps the "Fade" mix (not in the sense of Kolo & Fortier, obviously) as well. It may not be Lieb's best work but I think he certainly used the original mix's elements in a proper way.
This is just Armada taking the piss actually releasing this Moscoman "remix". Sincerely hope if they make any money out of it it goes straight into Three Drives's bank account.
Imagine Vector A's upcoming success considering this is only a preview. :eyes::eyes:
djdk
quote:
Originally posted by Midlothian
Quite right. I wouldn't mind a good remix of Greece 2000 that actually takes that groovy aspect as its basis and incorporates the "hook" in some modest way.
I've always thought this one fits that bill quite nicely...
hoopoe
^ It's amazing how you can go decades without ever having heard one of the officially licensed remixes, nice one.
I'm with hoopoe here - that A20 mix I must have somehow missed too. It actually sounds a lot more like the Three Drives sound post-Greece 2000. I only just noticed now there's more I missed from the first remix package on Massive Drive itself. Johan Cyber mix, S'n'S mix. Interesting.
I suppose "China 2000" would have made sense.
Lews
How can someone release that (the OP remix) with a straight face? Strange.
I've always loved that A20 mix.
Also, something related that I'm rather fond of:
And, of course, might as well post this one, too:
MSZ
decent meme
Trance-M
Looks like more are into that art of mixing: #17 at Beatport trance chart.
Midlothian
So Positiva are having their piece of the cake as well.
That's a rather boring track he's integrated those B.B.E. bits into, to put it mildly for a change.
the-sixth
Greece 2000 had a pretty big sample lift from Cruisin Gang - Chinatown anyway I dont think was ever credited (maybe im wrong) but yeah I'm stunned that moscoman is actually available for people to buy.
Almost as as the Villalobos Remix of Cafe Del Mar
Paradox Lost
quote:
Originally posted by SYSTEM-J
I totally disagree with this, for two reasons. Firstly, a record that is famous just for its distinctive hook is surely far more open to remixing, because you can transpose that hook into many different styles and contexts. It also implies that the rest of the track isn't very memorable, and therefore more disposable. And secondly, I don't agree that Greece 2000 is "all hook" anyway. My favourite thing about Greece 2000 is the rumbling bassline and percs, which together are far groovier than the majority of your breakdown-melody trance classics, and indeed most of the remixes that have come out down the years.
I'm not fully on board with this. A record as iconic as Greece 2000 necessitates a certain level of faithfulness, and there are only so many detours you can make and creative decisions you can make when remixing before it ceases to be one (or to be accepted as one). It's for that reason so many of these classic remixes rarely take you by surprise, for while you can't predict in advance what you'll hear, what you do hear sounds safely consistent with something you'd expect.
That transposition onto different styles and into different contexts winds up being just that: a recontextualization, which mostly amounts to just serving up the same dish with a different side. Compare this with remixing other records that aren't so inextricably locked into their lead melodies, and I think more interesting possibilities open up. Take something like Sacred Cycles, which has so much going on from beginning to end while still distinguished by an unmistakable sound, and you can do far more than simply situate it in different styles and contexts. Leama & Moor were fantastic at this, who would stay tethered to the original but still stretch it for miles in an entirely different direction.
As for everything outside of the hook, I get you appreciate the buildup involved in something like Greece 2000, but can you honestly say that it's not at least in part because that buildup carries with it a familiar sense of anticipation? There's nothing especially unique about
*da-dumdum-dum/clap/da-dumdum-dum/clap/*, but anyone who hears this particular variation on this particular theme knows what's coming next, so to what extent are you able to disassociate the two?
Remixing is fine. Some of my favorite releases are remixes of tracks that are less impressive as originals, but approaching certain classics with the intent to remix seems inherently prohibitive, and the result is usually just fun, familiar, and forgettable.
[and yeah, I really need to work on getting back to people in a reasonable amount of time]
SYSTEM-J
quote:
Originally posted by Paradox Lost
As for everything outside of the hook, I get you appreciate the buildup involved in something like Greece 2000, but can you honestly say that it's not at least in part because that buildup carries with it a familiar sense of anticipation? There's nothing especially unique about
*da-dumdum-dum/clap/da-dumdum-dum/clap/*, but anyone who hears this particular variation on this particular theme knows what's coming next, so to what extent are you able to disassociate the two?
I honestly don't understand your reasoning at all. Does a groove have to be unique to be infectious? And if everything about this track outside the melody is as generic as you're claiming (to the point I've apparently induced a false consciousness about why I enjoy it), then why are you banging on about a requirement to be "faithful" to it? You can take the melody line and whack it in any genre going, and by your reasoning the only iconic element of the track is retained.
Also, Sacred Cycles is a terrible contrary example, given that the vast majority of the remixes only ever use samples from the first 30 seconds of the intro.
SPANIARD
quote:
Originally posted by Kilixpree
the good thing is that this way these guys can't damage the track that much, which is always good. Always reminds me of when everyone (mainly guy j) were remixing classics non stop and the result was almost always utterly awful stuff
quote:
Originally posted by Sykonee
Or the glorious days of Sean "Needs A Harder Kick" Tyas remixes.
