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2781Re(2): [Hybrid] Hybrid's Radiohead Mix

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  • stuart.bruce@aardman.com
    May 4, 2001
      E-mail sent from work; please don't reply to my work address unless urgent.

      HybridUK@yahoogroups.com writes:
      >But to say that Radiohead are not about remixes
      >would be to ignore, amongst others, 'Planet Telex' the Hexidecimal &
      >LFO mixes also the Karma Sunra version. There is also, apparently, a
      >DepthCharge remix, which I would be quite keen to hear (assuming that
      >it is DepthCharge).

      Not being a Radiohead fan, I stand corrected about the "not about remixes"
      >This does bring up another point, however, assuming that most groups
      >pick from a number of remixes, per release, why is there so much
      >absolute crap around? Particularly, why do people keep letting DJ
      >Tonka remix stuff? His remixes of B-52s', 'Love Shack' (one of the
      >best pop-songs ever IMHO) and Salt 'n' Pepa's 'Push it' are
      >diabolical, and not in a Beelzebeat/Devil in a Sports Casual kinda

      It seems to me that some bands are getting fewer remixes made, because
      less mixes will fit onto commercial releases than would be the case four
      years ago or so. Back in '95-ish the Shamen got about 20 different mixes
      of "Transamazonia" done, and 14 were on the commercial CDs alone. In '99
      Hybrid got about 6 (?) different versions of "If I Survive" and released
      them all across the CD and 12". I think there are fewer remixes being
      'buried' now.

      DJ Tonka's name probably sells- there are probably clubs out there who
      would be influenced towards playing a mix if it had DJ Tonka's name on it,
      even if some people don't like it. It's very mainstream- it's the Todd
      Terry syndrome. For years, Todd Terry mixes were just the Todd Terry
      trademark beat with whichever-song's vocal laid over the top of it. People
      with home computers could have put those mixes together- but certain DJs &
      clubs see Todd Terry mixes as reliable mainstream and popular club
      versions, so will want to play them- so a lot of people buy releases for
      the Todd Terry mixes. That's why Todd Terry gets paid so much per remix-
      it's a brand name.

      When a band pays for a Hybrid remix, they don't just do it for the piece
      of music they receive. They also buy temporary use of the Hybrid name-
      meaning that dedicated Hybrid fans (like us) will buy the release and the
      band will earn back the money they spent on the remix in the first place.

      Equally... when Alanis Morrissette refused to allow "So Pure" onto "Remix
      and Additional Production...", I don't believe that it was purely because
      she didn't like the piece of music (although I guess that's possible)- it
      is likely to also have been because she (or her representatives) decided
      that she/they didn't want the Alanis Morrisette 'brand name' diluted by
      being used elsewhere. It's not publicity that is going to significantly
      benefit Alanis Morrissette, or Radiohead, whereas lesser-known artists
      like Monk & Canatella and Vernon's Wonderland, or more open-minded or
      remix-minded artists like Moby, Filter and Future Sound Of London, would
      see inclusion as more relevant and useful to that artist's image.

      Sadly, it's not just about the music.


      Stuart Bruce
      tel ext 4269
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