pf> If I may, let me remind you that JK did a special vocal studio
pf> sessions regarding the remixes you're talking about. So I think he
pf> wanted the remixes to be done. I do think JK (and almost all musiciens
pf> in the business) wanted to know how his tunes would sound like when a
pf> club speciallist is calling the shots.
they did more than special vocal sessions--jk, toby smith, derrick mckenzie,
& al stone are credited w/the "quasar mix" & dub as remixers! meaning that
they are interested in the possibilities of remixing.
many people are quite interested to hear how other producers would
re-interpret their recordings. think of it this way, instead of having to
pay brian eno, masters @ work, teddy riley and/or __insert favorite
producer here__ to produce the album, you can have them remix tunes from it!
that way you can find out what they would do w/o having a schizophenic
album,
or fights w/them in the studio...
pf> On the other hand how could we listen to stuff like "Space Cowboy"'s
pf> original demo version (and others) if it wasn't for this CD Singles
pf> containing the remixed versions?
other genres are doing this now too--e.g. pj harvey releasing an album of
4-track demos for the preceding album "rid of me".
pf> PS-I do also prefer the original versions. When we're talking about
pf> "Cosmic Girl" I think the remix lost that 70's disco beat that
pf> represents the base of the tune.
i prefer the originals also, but mainly because the morales remixes, while
good--he's pretty consistently on point, house-wise--weren't inventive. why
not go a different direction if the original is great? if i had remixed it
(and i would have loved to) i would have done something completely different
than house. it would have been more interesting imo artistically, and it
would have gotten the tune played in places that wouldn't play the original.
fine, house is a bigger market; there are other important markets too (e.g.
hiphop, d&b)!
t-bird
... i don't know where jazz is going, maybe to hell...-thelonius monk