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Post by madoldlu on Jul 29, 2011 10:38:23 GMT -5
Girls on Film Night Version. Absolutely. I love it because it truly expands on the song and re-arranges it in a very natural way that sounds like a full song, and not like it was unnaturally stretched out, even in its expanded state. Many of the other night versions and mixes got into the formula of just doing an instrumental of the full song for the first half, then starting up the lyrics for the second half. Then the mixes evolved into a mixer-dj guy BUTCHERING the songs, in my humble opinion of course.
But Girls on Film was able to expand on the song like the band was just jamming away, but without getting too carried away. It doesn't get repetitive or gimmick-y. It just flows naturally. Even the beginning, where it's that familiar formula of the instrumental in the first half, they reworked the song slightly, emphasizing different musical elements from the single, so it doesn't sound like they just took the vocals out--it sounds like they are playing an alternative musical jam. I absolutely LOVE how the song shifts from the single version after the mid-instrumental part and changes that last verse to the "Take one last glimpse into the night..." and rides that new sound til the end. Brilliant.
Honorable Mention to Hold Back the Rain because it manages to do something similar in that it just sounds like a fuller, more expanded song without sounding "mix-y".
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errbt
PAPER GOD
"untalented guitarist"
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Post by errbt on Jul 29, 2011 17:22:16 GMT -5
I enjoy most of the band's '80s extended arrangements (Planet Earth/GOF/My Own Way), Night Versions, and later remixes), but one absolutely stands out: the Night Version of Hungry Like the Wolf. For me it is THE standard by which I measure other extended versions. It has a perfect structure. Three instrumental verse sections that build upon each other (both parts of the first verse + the second half of the second verse), followed by an instrumental chorus (taken from the second chorus, much more dynamic than the first due to the addition of Nick's synth string swells), and then a great edit right into the vocal verse.
Of course the biggest reason I love it is that the mix balance is actually better than the original! Deeper bass, more three dimensional sounding synths...everything just sounds richer and better, as opposed to many extended mixes where, while I enjoy the instrumental sections, I think the overall sound is not as sharp as the original (as in the New Moon on Monday Remix...too sparse for me once the vocals kick in, and missing the soaring grandeur of the original mix).
I've always used the HLTW Night Version as a baseline reference for setting the EQ for any new sound system or computer media player (I've even taken the Cassette or CD to the store to test stuff out before buying it)!
David Kershenbaum really knew how to bring out the best in a song. All his RIO remixes are superior to the originals, IMO (well, except maybe for the 4:00 Album Remix of HLTW - too dark sounding, with the arpegiated synth line too muted, though it does better reveal Andy's lead guitar melody during the choruses, and features the extended fade out ending with extra vocals, not to mention an extremely loud extra moan). The Night Version of HLTW matches up sonically much better to his amazing work on Rio, LIYN, MOW, and HBTR.
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Post by intravenus on Jul 29, 2011 22:54:38 GMT -5
I think my favorite is the Monkey Mix of Union Of The Snake, which is funny because when I first heard it as a kid I hated it since it seemed like it went on f-o-r-e-v-e-r! What I like best about it is that it reveals more of what they recorded (especially in the middle section) and I also love the intro. Second for me is the poorly named "Dance Mix" of New Moon On Monday for similar reasons - an amazing intro and great insight into the recording process. Another great one is the 2nd version of Faith In This Colour which vastly improves on the original mix with far better pacing, tempo and musical element, definitely a precursor to Arcadia.
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Post by giannis on Jul 30, 2011 10:52:50 GMT -5
forgot to mention i also like notorious(extended mix)
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gabby
PAPER GOD
Posts: 1,883
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Post by gabby on Jul 30, 2011 11:04:55 GMT -5
I enjoy most of the band's '80s extended arrangements (Planet Earth/GOF/My Own Way), Night Versions, and later remixes), but one absolutely stands out: the Night Version of Hungry Like the Wolf. For me it is THE standard by which I measure other extended versions. It has a perfect structure. Three instrumental verse sections that build upon each other (both parts of the first verse + the second half of the second verse), followed by an instrumental chorus (taken from the second chorus, much more dynamic than the first due to the addition of Nick's synth string swells), and then a great edit right into the vocal verse. Of course the biggest reason I love it is that the mix balance is actually better than the original! Deeper bass, more three dimensional sounding synths...everything just sounds richer and better, as opposed to many extended mixes where, while I enjoy the instrumental sections, I think the overall sound is not as sharp as the original (as in the New Moon on Monday Remix...too sparse for me once the vocals kick in, and missing the soaring grandeur of the original mix). I've always used the HLTW Night Version as a baseline reference for setting the EQ for any new sound system or computer media player (I've even taken the Cassette or CD to the store to test stuff out before buying it)! David Kershenbaum really knew how to bring out the best in a song. All his RIO remixes are superior to the originals, IMO (well, except maybe for the 4:00 Album Remix of HLTW - too dark sounding, with the arpegiated synth line too muted, though it does better reveal Andy's lead guitar melody during the choruses, and features the extended fade out ending with extra vocals, not to mention an extremely loud extra moan). The Night Version of HLTW matches up sonically much better to his amazing work on Rio, LIYN, MOW, and HBTR. The only thing I don't like about the HLTW [Night Version] is the pop you hear when the instrumental portion ends and the vocal end starts. Love that chorus without vocals though. btw love that you take it to the store in order to test the sound! ;D
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Resq85
LIBERTY
only came outside to watch the nightfall with the rain
Posts: 84
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Post by Resq85 on Jul 31, 2011 18:07:09 GMT -5
Notorious (latin rascals remix) destroys the floor with every re-sampled smash and grab break. Its utter funking genius. I do love re-interpretations and *ahem* 'butchering' of songs but this remix showed them relinquishing control and letting other producers outside of duran duran' experiment. Kerscenbaums mixes are great but they are not in this league of destruction. Duran Duran, I think, wanted to progress and explore alternative possibilities of their music unrealized by the band themselves and not rest easy with a Girls on Film part deux. They latched onto the rise of DJ subculture with the likes of disco-remix maverick Larry Levan and Francoise Kervokian and Mantronix early on with their Master Mixes of the Notorious album which I think is what lead them onto infusing this new blend of american acid house and hip hop on Big Thing. you can also hear this direction on Nile Rodgers remix of The Reflex which is my other fav. As much as I adore the first two albums (which are obviously the best) and the early night versions are an innovation in themselves but the later remixes, for their time ( or more to the point for me), were hugely experimental for a band not content with their initial sound looking to push the envelope and reflect contemporary modern culture that was rising to the forefront stateside.
There's something that I find totally refreshing in that record over the other 12" mixes.
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errbt
PAPER GOD
"untalented guitarist"
Posts: 1,726
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Post by errbt on Jul 31, 2011 23:14:25 GMT -5
Notorious (latin rascals remix) destroys the floor with every re-sampled smash and grab break. Its utter funking genius. I do love re-interpretations and *ahem* 'butchering' of songs but this remix showed them relinquishing control and letting other producers outside of duran duran' experiment. Kerscenbaums mixes are great but they are not in this league of destruction. Duran Duran, I think, wanted to progress and explore alternative possibilities of their music unrealized by the band themselves and not rest easy with a Girls on Film part deux. They latched onto the rise of DJ subculture with the likes of disco-remix maverick Larry Levan and Francoise Kervokian and Mantronix early on with their Master Mixes of the Notorious album which I think is what lead them onto infusing this new blend of american acid house and hip hop on Big Thing. you can also hear this direction on Nile Rodgers remix of The Reflex which is my other fav. As much as I adore the first two albums (which are obviously the best) and the early night versions are an innovation in themselves but the later remixes, for their time ( or more to the point for me), were hugely experimental for a band not content with their initial sound looking to push the envelope and reflect contemporary modern culture that was rising to the forefront stateside. There's something that I find totally refreshing in that record over the other 12" mixes. I get that there's room in the world for more than one type of remix. It's just that the term "Remix" shouldn't even be used for most of them, as they are often nothing more than the vocal track (and if we're lucky, MAYBE an instrument or two) from the original song, with a completely different song (or just beats) under it, sometimes completely clashing with (or even destroying) the melodic intent even of the vocals. Perhaps "reinvention" would be a better term...or unfortunately "homogenization" in many cases! You can take completely original, unique and different songs by various artists, and with the modern "remix" style, tear away all those unique differences, put them to one of a few standard beats, and they all sound the same...I don't see the allure in that, although I get that I'm probably outvoted in this. Hell, many of my favorite bands, including Duran and U2, seem to love having this done to their music. I don't see why there can't also be more traditional remixes done alongside, though. Actually, if groups would just release the multitracks along with (or maybe even included with) their singles, as Radiohead did on In Rainbows and Duran did with AYNIN, I guess fans could make their own more traditional remixes (as well as any wild flights of fancy they want to take). Like I said, the world is big enough for all tastes.
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Resq85
LIBERTY
only came outside to watch the nightfall with the rain
Posts: 84
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Post by Resq85 on Aug 1, 2011 1:31:32 GMT -5
Notorious (latin rascals remix) destroys the floor with every re-sampled smash and grab break. Its utter funking genius. I do love re-interpretations and *ahem* 'butchering' of songs but this remix showed them relinquishing control and letting other producers outside of duran duran' experiment. Kerscenbaums mixes are great but they are not in this league of destruction. Duran Duran, I think, wanted to progress and explore alternative possibilities of their music unrealized by the band themselves and not rest easy with a Girls on Film part deux. They latched onto the rise of DJ subculture with the likes of disco-remix maverick Larry Levan and Francoise Kervokian and Mantronix early on with their Master Mixes of the Notorious album which I think is what lead them onto infusing this new blend of american acid house and hip hop on Big Thing. you can also hear this direction on Nile Rodgers remix of The Reflex which is my other fav. As much as I adore the first two albums (which are obviously the best) and the early night versions are an innovation in themselves but the later remixes, for their time ( or more to the point for me), were hugely experimental for a band not content with their initial sound looking to push the envelope and reflect contemporary modern culture that was rising to the forefront stateside. There's something that I find totally refreshing in that record over the other 12" mixes. I get that there's room in the world for more than one type of remix. It's just that the term "Remix" shouldn't even be used for most of them, as they are often nothing more than the vocal track (and if we're lucky, MAYBE an instrument or two) from the original song, with a completely different song (or just beats) under it, sometimes completely clashing with (or even destroying) the melodic intent even of the vocals. Perhaps "reinvention" would be a better term...or unfortunately "homogenization" in many cases! You can take completely original, unique and different songs by various artists, and with the modern "remix" style, tear away all those unique differences, put them to one of a few standard beats, and they all sound the same...I don't see the allure in that, although I get that I'm probably outvoted in this. Hell, many of my favorite bands, including Duran and U2, seem to love having this done to their music. I don't see why there can't also be more traditional remixes done alongside, though. Actually, if groups would just release the multitracks along with (or maybe even included with) their singles, as Radiohead did on In Rainbows and Duran did with AYNIN, I guess fans could make their own more traditional remixes (as well as any wild flights of fancy they want to take). Like I said, the world is big enough for all tastes. I may agree with you in some respects that there are a lot of generic remixes out there. That though I believe is mostly down to lazy producers cashing in on a trend. Remixes are designed to be played in clubs and at parties and dj's in particular will blend a track into their own club style which may not be to everyone's taste. A hook will be taken out and repeated with the remix artists palette of sounds and style of variation. Entire vocal track are usually hacked to pieces and instrumentation warped beyond recognition but as I say they are mostly served to make people dance...not think! A lot of the early 80's remixes we're very different to the remixes that came along several years later which is mainly down to a shift in music technology and sampling, and the 80's we're indeed very very quick in musical terms as a revolution of musical styles and genres. Before then people we're so very used to a band consisting of a singer a guitarist a drummer and a bass player and the idea that anyone could 'steal' a bit of someone else's music and shout over it seemed completely alien and was much derided by 'real' musicians of having no artistic merit whatsoever, but hip-hop rose from that very idea which lead onto to other musical styles, such a drum and bass, electronica, breakbeat, techno, electro etc ad infinitum! It's horses for courses, of course. One mans meat is another mans poison and remixes, re-works re-rubs divide opinion down the line where it seems like a track is a sacred cow and should not be for consumption but worshiped to the recycling and cannibalism of tracks to create new art forms! However I do think Duran Duran hit the nail on the head with their own early sound and as artists I understand the need to experiment and change and not be content with churning out the same sort of track time and time again. I'm not entirely sure if Duran Duran would have existed to day had they stuck 'steadfastly' to their original sound and not moved on. It was however, very refreshing for them to return to their roots with AYNIN as they are a hugely influential part of popular culture through the 80's and have inspired thousands of people me included) to be in bands, make music and dj, and many of them are trying to re create that early 80's feel, not just the Duran Duran sound. The hangover form the 80's is still here (and has been for the last ten years!) and people are still in love with the analogue sounds created from those early synth and sampling years. somewhat off topic but I thought I'd point out a handful of contemporary remixes off the top of my head that are IMO better than the original (and some of them I think have elements of DD in there) Paris (Aerolplane Remix) - Friendly Fires Williams Blood (Aeroplane Remix) - Grace Jones Girl and the sea (cut copy remix) - The Presets e-talking (nite version) - Soulwax high pressure days (Rory Philips remix) - The Units My Moon My Man (Boys Noize remix) - Feist forever dolphin love (erol alkan remix) - Connan Mockasin (actually I really wish any of these remix artists would please take some classic DD tracks and give them a new spin! it would certainly open DD up to a younger audience)
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Post by two on Aug 1, 2011 8:32:28 GMT -5
Notorious (latin rascals remix) destroys the floor with every re-sampled smash and grab break. Its utter funking genius. I do love re-interpretations and *ahem* 'butchering' of songs but this remix showed them relinquishing control and letting other producers outside of duran duran' experiment. Kerscenbaums mixes are great but they are not in this league of destruction. Duran Duran, I think, wanted to progress and explore alternative possibilities of their music unrealized by the band themselves and not rest easy with a Girls on Film part deux. They latched onto the rise of DJ subculture with the likes of disco-remix maverick Larry Levan and Francoise Kervokian and Mantronix early on with their Master Mixes of the Notorious album which I think is what lead them onto infusing this new blend of american acid house and hip hop on Big Thing. you can also hear this direction on Nile Rodgers remix of The Reflex which is my other fav. As much as I adore the first two albums (which are obviously the best) and the early night versions are an innovation in themselves but the later remixes, for their time ( or more to the point for me), were hugely experimental for a band not content with their initial sound looking to push the envelope and reflect contemporary modern culture that was rising to the forefront stateside. There's something that I find totally refreshing in that record over the other 12" mixes. good post!
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gabby
PAPER GOD
Posts: 1,883
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Post by gabby on Aug 1, 2011 8:39:20 GMT -5
Notorious (latin rascals remix) destroys the floor with every re-sampled smash and grab break. Its utter funking genius. I do love re-interpretations and *ahem* 'butchering' of songs but this remix showed them relinquishing control and letting other producers outside of duran duran' experiment. Kerscenbaums mixes are great but they are not in this league of destruction. Duran Duran, I think, wanted to progress and explore alternative possibilities of their music unrealized by the band themselves and not rest easy with a Girls on Film part deux. They latched onto the rise of DJ subculture with the likes of disco-remix maverick Larry Levan and Francoise Kervokian and Mantronix early on with their Master Mixes of the Notorious album which I think is what lead them onto infusing this new blend of american acid house and hip hop on Big Thing. you can also hear this direction on Nile Rodgers remix of The Reflex which is my other fav. As much as I adore the first two albums (which are obviously the best) and the early night versions are an innovation in themselves but the later remixes, for their time ( or more to the point for me), were hugely experimental for a band not content with their initial sound looking to push the envelope and reflect contemporary modern culture that was rising to the forefront stateside. There's something that I find totally refreshing in that record over the other 12" mixes. I'm not a fan of the Latin Rascals Mix, I find it to be quite a car crash to be honest, offering nothing new to the album and extended versions other than those re-sampled smash and grab breaks! I do love the Master Mixes though, and I totally agree that there is something special about them. Quite pioneering. A bridge between generic club versions and the old style 12" extended.
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