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. The original was very Euro-Pop and lacked any of the hooks that made this one of the greatest remixes ever. At this point you might be saying, “Wait, this wasn’t the original mix?!” Nope. The original mix from 1990, produced by George & McFarlane, sounded nothing like this 1993 remix and had very little in common.
This enduring classic was spawned from Stonebridge asking Champion Records if they had any demos lying around. As a culture, it is now about as corporate and lily-white as it gets. new product iterations touting "remix" on the package.
It's part of the pop vernacular, propelled by the EDM phenomenon. Soda, candy, clothing, cosmetics, consumer goods of all kinds. 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. There they applied the same basic principle from dub – strip a record down to its component parts, extend it, change it, add to it, enhance it for a dancefloor – to what became hip-hop and disco, and, later, house, techno, drum & bass, and dubstep. 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. It's worth repeating that this was the 1960s. 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." In the footnotes of music history, the dub remix stands as one of the most astonishingly groundbreaking and avant-garde techniques ever developed. 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. 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. 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.
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 1960s at the hands of men of African descent.
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