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134-405: The founder of OverClocked ReMix and its parent company OverClocked ReMix, LLC is David W. Lloyd (a.k.a. djpretzel), who coined the word "ReMix" to refer to distinctive and interpretive arrangements, as opposed to a remix which typically involves less transformative alterations to the original works. Lloyd originally curated all of the submissions to the site, but since 2002 submissions are judged by

268-502: A cover medley . On occasion, a cover can become more popular than the original, for instance Jimi Hendrix ’s version of Bob Dylan ’s " All Along the Watchtower " became the standard, and Dylan even adjusted his performance style closer to the Hendrix version. Johnny Cash ’s 2002 cover of " Hurt " by Nine Inch Nails is another example of the cover version eclipsing the original. This is

402-425: A limited liability company . At its founding, music submissions to the site were evaluated for inclusion solely by Lloyd, who required that all arrangements both meet his quality bar and also feature an original interpretation of the music, rather than minimally changing the original track. In early 2002, however, to better accommodate the volume of music submissions and improve selection consistency, Lloyd instituted

536-414: A video game music hosting website on December 11, 1999. Lloyd, who had just created an arrangement of the title theme from Phantasy Star III: Generations of Doom titled "Legacy", created the "DJ Pretzel's OverClocked ReMix" database as a way to host and share it and other arrangements and remixes of his. The name was taken from OverClocked , a webcomic about playing and emulating video games Lloyd

670-467: A boisterous floor-filler by stripping away all the instrumental tracks and substituting a minimalist, sequenced " track " to underpin her vocal delivery, remixed for the UK release which reached No1 pop by Simon Harris . The art of the remix gradually evolved, and soon more avant-garde artists such as Aphex Twin were creating more experimental remixes of songs (relying on the groundwork of Cabaret Voltaire and

804-421: A cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits ) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in

938-512: A closing track performed by the game's original composer, David Wise, alongside Grant Kirkhope and Robin Beanland , three composers with ties to Rare 's Donkey Kong Country / Land franchise . Several amateur OC ReMix submitters and community members have transitioned into professional video game composition careers. These include Dain "Beatdrop" Olsen ( Dance Dance Revolution SuperNOVA 2 ), Jillian "pixietricks" Aversa ( Civilization IV: Beyond

1072-432: A derivative work and subject to the copyrights of the original work's copyright holder. The Creative Commons is a non-profit organization that allows the sharing and use of creativity and knowledge through free legal tools and explicitly aims for enabling a Remix culture . They created a website that allows artists to share their work with other users, giving them the ability to share, use, or build upon their work, under

1206-481: A duration of six to seven minutes, and often consisted of the original song with 8 or 16 bars of instruments inserted, often after the second chorus; some were as simplistic as two copies of the song stitched end to end. As the cost and availability of new technologies allowed, many of the bands who were involved in their own production (such as Yellow Magic Orchestra , Depeche Mode , New Order , Erasure , and Duran Duran ) experimented with more intricate versions of

1340-522: A favorite artist's hit tunes for the simple pleasure of playing a familiar song or collection of tunes. Today, three broad types of entertainers depend on cover versions for their principal repertoire: Since the Copyright Act of 1909 , United States musicians have had the right to record a version of someone else's previously recorded and released tune, whether it is music alone or music with lyrics. A license can be negotiated between representatives of

1474-477: A final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, and a cover : a re-recording of someone else's song. While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form which is remixed in numerous examples. Literature, film, technology, and social systems can all be argued as

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1608-568: A form of remix. Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of easily editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording , such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or novelty recordings of various types. Modern remixing had its roots in

1742-402: A judge threw out the lawsuit claiming that 50 Cent did not have copyright on the beat, but rather it belonged to Shady/Aftermath Records. Many hip-hop remixes arose either from the need for a pop/R&B singer to add more of an urban, rap edge to one of their slower songs, or from a rapper's desire to gain more pop appeal by collaborating with an R&B singer. Remixes can boost popularity of

1876-609: A music sample could be transformed "into a fully realized pop masterpiece". The song and its remix arguably remains as one of Carey's most important singles to date. Due to the song's commercial success, Carey helped popularize rapper as a featured act through her post-1995 songs. Sasha Frere-Jones, editor of The New Yorker commented in referencing to the song's remix: "It became standard for R&B/hip-hop stars like Missy Elliott and Beyoncé , to combine melodies with rapped verses. And young white pop stars—including Britney Spears , 'N Sync , and Christina Aguilera —have spent much of

2010-446: A new exemption which allows non-commercial remixing. In 2013, the US court ruling Lenz v. Universal Music Corp. acknowledged that amateur remixing might fall under fair use and copyright holders are requested to check and respect fair use before doing DMCA take down notices . In June 2015, a WIPO article named "Remix Culture and Amateur Creativity: A Copyright Dilemma" acknowledged

2144-422: A non-commercial, attribution-requiring content policy. ReMixes are added to the site after being submitted by their creators and passed by a panel of judges based on standards and guidelines encouraging arrangement creativity and high production quality. Since the site's founding, more than 150 works have been removed after initially being admitted, generally due to stricter enforcement of the site's standards after

2278-403: A panel of community members for quality and originality. The site has been positively received by both critics and video game industry professionals, and several video game composers have submitted their own ReMixes. Multiple OC ReMix contributors have gone on to have professional video game composition careers. OverClocked ReMix was founded by David W. Lloyd, using the screen name djpretzel, as

2412-452: A panel of judges, composed of accomplished artists and contributors to the community, to assist him in music selection, though he still provided an initial evaluation of all submissions for meeting a minimum quality bar. Judge Larry Oji (a.k.a. Liontamer) became head submissions evaluator for the organization in June 2006, taking over the majority of Lloyd's evaluation work and freeing him to focus on

2546-441: A remix of " Now I'm Following You " that was used to segue from the original to " Vogue " so that the latter could be added to the set without jarring the listener. In 2015, EDM artist Deadmau5 , who worked with Jay-Z's Roc Nation, tried to sue his former manager for remixing his songs without permission, claiming that he gave his manager the go-ahead to use his work for some remixes, but not others. Deadmau5 wanted reimbursement for

2680-453: A remix. However, if the work that is distributed by the remixer is an entirely new and transformative work that is not for profit, copyright laws are not breached . The key word in such considerations is transformative, as the remix product must have been either sufficiently altered or clearly used for a sufficiently different purpose for it to be safe from copyright violation. In 2012, Canada 's Copyright Modernization Act explicitly added

2814-402: A sample from "Khosara Khosara", a composition by Egyptian composer Baligh Hamdy in his song " Big Pimpin' ". Osama Fahmy, a nephew of Hamdy, argued that while Jay-Z had the "economic rights" to use the song, he did not have the "moral rights". In 1988, Sinéad O'Connor 's art-rock song "I Want Your (Hands on Me)" was remixed to emphasize the urban appeal of the composition (the original contains

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2948-547: A tight, grinding bassline and a rhythm guitar not entirely unlike Chic's work). In 1989, the Cure 's "Pictures of You" was remixed turning "the music on its head, twisted the beat completely, but at the same time left the essential heart of the song intact." Remixes have become the norm in contemporary dance music , giving one song the ability to appeal across many different musical genres or dance venues. Such remixes often include "featured" artists, adding new vocalists or musicians to

3082-456: A tribute to the original performer or group. Using familiar material (such as evergreen hits, standard tunes or classic recordings) is an important method of learning music styles. Until the mid-1960s most albums, or long playing records , contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style. (See, for example, Please Please Me .) Artists might also perform interpretations ("covers") of

3216-455: A weekly segment called Like a Version in which a band or musician performs one of their own songs as well as a song they love by another artist. Originating in 2004, the popularity of the performances have resulted in the release of annual compilation albums of selected covers and, more recently, votes in the annual Triple J Hottest 100 poll (which has even sparked its own controversy). Conjoined cover songs are collectively referred to as

3350-456: A widespread, common occurrence in the music industry. With advancements in artificial intelligence , internet users can create covers using RVC models. Cover versions (as the term is now used) are often contemporary versions of familiar songs. For example, " Singin' in the Rain " was originally introduced by Cliff Edwards in the film The Hollywood Revue of 1929 . The famous Gene Kelly version

3484-504: Is " Mack the Knife " ("Die Moritat von Mackie Messer"), originally from Bertolt Brecht's 1928 Die Dreigroschenoper . It was popularized by a 1956 hit parade instrumental tune, "Moritat", for the Dick Hyman Trio, also recorded by Richard Hayman & Jan August , but a hit also for Louis Armstrong 1956/1959, Bobby Darin , 1959, and Ella Fitzgerald , 1960, as vocal versions of "Mack

3618-422: Is "education – not about framing or law – but rather what you can do with technology, and then the law will catch up". He believes that trade associations – like mashup guilds – that survey practices and publish reports to establish norm or reasonable behaviours in the context of the community would be useful in establishing fair use parameters. Lessig also believes that Creative Commons and other licences, such as

3752-435: Is Mariah Carey." Mayard also expressed that "To this day ODB and Mariah may still be the best and most random hip hop collaboration of all time", citing that due to the record "Fantasy", "R&B and Hip Hop were the best of step siblings." In the 1998 film Rush Hour , Soo Yong is singing the song while it plays on the car radio, shortly before her kidnapping. In 2011, the experimental metal band Iwrestledabearonce used

3886-806: Is about a love triangle. Other types of remixes in art are parodies . A parody in contemporary usage, is a work created to mock, comment on, or make fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. They can be found all throughout art and culture from literature to animation. Famous song parody artists include "Weird Al" Yankovic and Allan Sherman . Several current television shows are filled with parodies, such as South Park , Family Guy , and The Simpsons . The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator.net (provides pictorial template upon which any words may be written by various anonymous users), and Dan Walsh's Garfieldminusgarfield.net (removes

4020-493: Is not uncommon for industrial bands to release albums that have remixes as half of the songs. Indeed, there have been popular singles that have been expanded to an entire album of remixes by other well-known artists. Some industrial groups allow, and often encourage, their fans to remix their music, notably Nine Inch Nails , whose website contains a list of downloadable songs that can be remixed using Apple 's GarageBand software. Some artists have started releasing their songs in

4154-474: Is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own. Underground mixing is more difficult than the typical official remix because clean copies of separated tracks such as vocals or individual instruments are usually not available to the public. Some artists (such as Björk , Nine Inch Nails , and Public Enemy ) embraced this trend and outspokenly sanctioned fan remixing of their work; there

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4288-410: Is the only one that might currently get widespread airplay on most media. Similarly, " Unchained Melody " was originally performed by Todd Duncan , featured in the 1955 film Unchained (based on the non-fiction story Prisoners are People by Kenyon J. Scudder); Al Hibbler having the biggest number of worldwide record sales for the vocal version with Jimmy Young's cover version rival outdoing this in

4422-539: The Earthworm Jim series, in 2006, which includes tracks originally submitted to OC ReMix by other arrangers. In October 2009, composer Alexander Brandon and ReMixer Jimmy "Big Giant Circles" Hinson collaborated to arrange a track Brandon composed for the game Deus Ex , which was expanded in 2013 into an eight-track album collaboration between OC ReMix and Brandon. In March 2010, OC ReMix released its Donkey Kong Country 2 ReMix album, Serious Monkey Business , featuring

4556-511: The Creative Commons license . The artist can limit the copyright to specific users for specific purposes, while protecting the users and the artist. The exclusive rights of the copyright owner over acts such as reproduction/copying, communication, adaptation and performance – unless licensed openly – by their very nature reduce the ability to negotiate copyright material without permission. Remixes will inevitably encounter legal problems when

4690-511: The GNU General Public Licence are important mechanisms which mashup and remix artists can use to mitigate the impact of copyright law. Lessig laid out his ideas in a book called "Remix" which is itself free to remix under a CC BY-NC license . The Fair Use agreement allows users to use copyrighted materials without asking the permission of the original creator (section 107 of the federal copyright law). Within this agreement,

4824-501: The Glenn Miller version (on RCA Victor's cheaper Bluebird label), not someone else's (sometimes presented on a more expensive record company's label). This trend was marked closely by the charting of record sales by the different artists, not just hit tunes, on the music industry's hit parades . However, for sound commercial reasons, record companies still continued to record different versions of tunes that sold well. Most audiences until

4958-516: The U-MYX format, which allows buyers to mix songs and share them on the U-MYX website. Recent technology allows for easier remixing, leading to a rise in its use in the music industry. It can be done legally, but there have been numerous disputes over rights to samples used in remixed songs. Many famous artists have been involved in remix disputes. In 2015, Jay-Z went to trial over a dispute about his use of

5092-683: The Virtua Fighter release on the Sega Saturn. Virtua Fighter had been released on the Saturn in a less-than-impressive state. Sega had attempted to make an accurate port of the Sega Model 1 arcade version, and therefore chose to use untextured models and the soundtrack from the arcade machine. However, as the Saturn was incapable of rendering as many polygons on screen as Model 1 hardware, characters looked noticeably worse. Many claim it to be even worse than

5226-412: The synthesizer -based compositions of electronic musicians such as Kraftwerk , Yellow Magic Orchestra, Giorgio Moroder , and Jean-Michel Jarre . Contemporaneous to Art of Noise was the seminal body of work by Yello (composed, arranged and mixed by Boris Blank ). Primarily because they featured sampled and synthesized sounds, Yello and Art of Noise would produce a great deal of influential work for

5360-469: The "age of remixing" and the need for a copyright reform . Cover version In popular music , a cover version , cover song , remake , revival , or simply cover is a new performance or recording by a musician other than the original performer or composer of the song . Originally, it referred to a version of a song released around the same time as the original in order to compete with it. Now, it refers to any subsequent version performed after

5494-622: The 1960s. Various textual sources (including his own) would be cut literally into pieces with scissors, rearranged on a page, and pasted to form new sentences, new ideas, new stories, and new ways of thinking about words. "The Soft Machine" (1961) is a famous example of an early novel by Burroughs based on the cut-up technique. Remixing of literature and language is also apparent in Pixel Juice (2000) by Jeff Noon who later explained using different methods for this process with Cobralingus (2001). A remix in art often takes multiple perspectives upon

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5628-451: The 2001 Grammy as Remixer of the Year . Another well-known example is R. Kelly , who recorded two different versions of " Ignition " for his 2003 album Chocolate Factory . The song is unique in that it segues from the end of the original to the beginning of the remixed version (accompanied by the line "Now usually I don't do this, but uh, go ahead on, break em' off with a little preview of

5762-532: The 20th century it became common for phonograph record labels to have singers or musicians "cover" a commercially successful "hit" tune by recording a version for their own label in hopes of cashing in on the tune's success. For example, Ain't She Sweet was popularized in 1927 by Eddie Cantor (on stage) and by Ben Bernie and Gene Austin (on record), was repopularized through popular recordings by Mr. Goon Bones & Mr. Ford and Pearl Bailey in 1949, and later still revived as 33 1/3 and 45 RPM records by

5896-659: The Air" occur in Strictly Ballroom , Candi Staton 's "Young Hearts Run Free" appear in Romeo + Juliet , and adaptations of artists such as Nat King Cole , Nirvana , Kiss , Elton John , Thelma Houston , Marilyn Monroe , Madonna , T. Rex , David Bowie , Queen , and the Police are used in Moulin Rouge! . The covers are carefully designed to fit into the structure of each film and suit

6030-450: The American record market. Numerable English-language covers exist of " 99 Luftballons " by German singer Nena (notably one by punk band Goldfinger ), one having been recorded by Nena herself following the success of her original German version. " Popcorn ", a song that was originally completely instrumental, has had lyrics added in at least six different languages in various covers. During

6164-519: The Anglo-Saxon markets was once a popular part of the music business. For example, the 1954 worldwide hit " The Happy Wanderer " was originally " Der fröhliche Wanderer ", to this must be added " Hymne à l'amour ", " Mütterlein ", " Volare ", " Seeman ", " Quando, Quando, Quando ", " L'amour est bleu ", etc. Cover versions of many popular songs have been recorded, sometimes with a radically different style, sometimes virtually unrecognizable from

6298-508: The Asphalt . Entitled OC ReMix: Super Street Fighter II Turbo HD Remix Official Soundtrack , the complete 66-track album was freely released at OverClocked ReMix. The album includes new arrangements, edited versions of Blood on the Asphalt tracks, and other prior remixes from the site. The remixers arranged the music based on knowledge of the Street Fighter II series alone, as the music for

6432-462: The Beatles in 1964. Because little promotion or advertising was done in the early days of record production, other than at the local music hall or music store, the average buyer purchasing a new record usually asked for the tune, not the artist. Record distribution was highly localized, so a locally popular artist could quickly record a version of a hit song from another area and reach an audience before

6566-620: The Fire , although the German title was retained. The English version, which was not a direct translation of Falco's original but retained much of its spirit, reached the Top 5 on the US charts. " The Lion Sleeps Tonight " evolved over several decades and versions from a 1939 Solomon Linda a cappella song. Many of singer Laura Branigan 's 1980s hits were English-language covers of songs already successful in Europe, for

6700-433: The Knife". Europe's Radio Luxembourg , like many commercial stations, also sold "air time"; so record companies and others bought air time to promote their own artists or products, thus increasing the number of recorded versions of any tune then available. Add to this the fact that many radio stations were limited in their permitted " needle time " (the amount of recorded music they were allowed to play), or were regulated on

6834-590: The Knuckles version, which had been provided as an alternative to the original mix by Ian Devaney and Andy Morris, the record's producers. In the age of social media, anybody can make and upload a remix. The most popular apps for doing this are Instagram and YouTube . A remix may also refer to a non-linear re-interpretation of a given work or media other than audio such as a hybridizing process combining fragments of various works. The process of combining and re-contextualizing will often produce unique results independent of

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6968-513: The Rain" has been covered and remixed by British act Mint Royale for a television commercial for Volkswagen . Another example of this, from a different angle, is the tune " Blueberry Hill ", many mistakenly believe the Fats Domino 1956 release to be the original recording and artist. In fact, it was originally introduced on film by Gene Autry and popularized on the record Hit Parade of 1940 by Glenn Miller. The Fats Domino rock and roll version

7102-597: The ReMix community. Titles include the iOS game Trenches , the Xbox Live Arcade game Return All Robots! , and Missile Master, Episode 1: Invasion . In 2008, the musicians of OverClocked ReMix were chosen to handle the Super Street Fighter II Turbo HD Remix soundtrack after Capcom U.S.A. associate producer Rey Jimenez heard the site's 2006 Super Street Fighter II Turbo tribute album Blood on

7236-566: The Sega 32X version, thanks to the added CD loading time. Virtua Fighter Remix was created to address many of these flaws. Models have a slightly higher polygon count (though still less than the Model 1 version); they are also texture-mapped, leading to a much more modern-looking game that could effectively compete with the PlayStation. The game also allows players to use the original flat-shaded models. In

7370-510: The Sword ), Zircon ( Monkey Island 2 Special Edition: LeChuck's Revenge ), Christopher "Mazedude" Getman ( The 7th Guest: Infection ), Jimmy "Big Giant Circles" Hinson ( Mass Effect 2 ), Jake "virt" Kaufman ( Shovel Knight ), and Danny Baranowsky ( Super Meat Boy ). Remix A remix (or reorchestration ) is a piece of media which has been altered or contorted from its original state by adding, removing, or changing pieces of

7504-615: The UK mainstream". Dorian Lynskey of The Guardian named it a "benchmark remix" and placed it in his top ten list of remixes. The Coldcut remix "Seven Minutes of Madness" became one of the first commercially successful remixes, becoming a top fifteen hit in countries such as Germany, the Netherlands and the United Kingdom. Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl 12-inch singles . These typically had

7638-933: The UK, Les Baxter's Orchestra gaining the big instrumentalist sales, reaching the US Hit Parade number one spot in May 1955, but the Righteous Brothers ' later version (top five on the US Hit Parade of September 1965 stalling at number 14 in the UK in August) is by far the wider known version, and especially so following its appearance in the 1990 film Ghost . " House of the Rising Sun " has hundreds of versions and in many genres such as folk , blues rock and punk as well as dance and dubstep . Director Baz Luhrmann has contemporized and stylized older songs for use in his films. New or cover versions such as John Paul Young 's "Love Is in

7772-436: The admission of the work. To meet the inclusion standards, works must demonstrate significant arrangement work rather than being a " MIDI rip", a term used for works which take a transcription of the source material and make only minor modifications to it. Other barriers to inclusion include stolen or unoriginal recordings, cover versions that change the performance but not the music itself, arrangements which differ so far from

7906-572: The amount of local talent they had to promote in live broadcasts, as with most national stations like the BBC in the UK. In the US, broadcasters pay royalties to authors and publishers. Artists are not paid royalties, so there is an incentive to record numerous versions of a song, particularly in different genres. For example, King Records frequently cut both rhythm and blues and country and western versions of novelty songs like "Good Morning, Judge" and "Don't Roll those Bloodshot Eyes at Me". This tradition

8040-444: The bowdlerized popular cover versions more palatable for the mass audience of parents and their children. Artists targeting the white-majority family audience were more acceptable to programmers at most radio and TV stations. Singer-songwriter Don McLean called the cover version a "racist tool". Many parents in the 1950s - 60s, whether intentionally racist or not, felt deeply threatened by the rapid pace of social change. They had, for

8174-575: The bridge from the original version was used as the chorus. There is a version omitting Ol' Dirty Bastard's verses. The "Bad Boy Fantasy Remix", combines the chorus from the original version and the chorus of the Bad Boy Remix together, removing Ol' Dirty Bastard's vocals from his second verse. Carey re-recorded vocals for club remixes of the song by David Morales , titled "Daydream Interlude (Fantasy Sweet Dub Mix)". The Bad Boy remix garnered positive reviews from music critics. "Fantasy" exemplified how

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8308-505: The concept and goals have been well received all around." Several professional video game composers have positively commented about OC ReMix, such as Tommy Tallarico , Jeremy Soule , George "The Fat Man" Sanger , Hiroki Kikuta , Alexander Brandon , Barry Leitch , Nicholas Varley, and David Wise . OverClocked ReMix has also been praised for its work by non-composer industry figures including Doom lead designer John Romero and Contra 4 associate producer Tomm Hulett, who stated he hoped

8442-542: The concept of the remix has been applied analogously to other media and products. In 2001, the British Channel 4 television program Jaaaaam was produced as a remix of the sketches from the comedy show Jam . In 2003 The Coca-Cola Company released a new version of their soft drink Sprite with tropical flavors under the name Sprite Remix . In 1995, Sega released Virtua Fighter Remix (バーチャファイター　リミックス/Bāchafaitā rimikkusu) as an update to, just months after

8576-428: The copyrighted material that is borrowed must be used under specific government regulations. Material borrowed falls under fair use depending on the amount of original content used, the nature of the content, the purpose of the borrowed content, and the effect the borrowed content has on an audience. Unfortunately, there are no distinct lines between copyright infringement and abiding by fair use regulations while producing

8710-401: The courts consider what will amount to a substantial part by reference to its quality, as opposed to quantity and the importance the part taken bears in relation to the work as whole. There are proposed theories of reform regarding the copyright law and remixes. Nicolas Suzor believes that copyright law should be reformed in such a manner as to allow certain reuses of copyright material without

8844-469: The dance hall culture of late-1960s and early-1970s Jamaica . The fluid evolution of music that encompassed ska , rocksteady , reggae and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes (which they called "versions") of reggae tunes. At first, they simply dropped

8978-406: The disingenuous spirit of early cover versions remain. In the album-buying heyday of the 1970s, albums of sound-alike covers were created, commonly released to fill bargain bins in the music section of supermarkets and even specialized music stores , where uninformed customers might easily confuse them with original recordings. The packaging of such discs was often intentionally confusing, combining

9112-424: The extended mix. Madonna began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ John "Jellybean" Benitez , who created several mixes of her work. Art of Noise took the remix styles to an extreme—creating music entirely of samples . They were among the first popular groups to truly harness the potential that had been unleashed by

9246-422: The first mainstream artists who re-recorded vocals for a dancefloor version, and by 1993 most of her major dance and urban-targeted versions had been re-sung, e.g. " Dreamlover ". Some artists would contribute new or additional vocals for the different versions of their songs. These versions were not technically remixes, as entirely new productions of the material were undertaken (the songs were "re-cut", usually from

9380-533: The first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock , as remixed by Grand Mixer D.ST . Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as " Duck Rock ". English duo Coldcut 's remix of Eric B. & Rakim's "Paid in Full" Released in October 1987 is said to have "laid the groundwork for hip hop's entry into

9514-424: The first time in history creativity by default is subject to regulation because of two architectural features. First, cultural objects or products created digitally can be easily copied, and secondly, the default copyright law requires the permission of the owner. The result is that one needs the permission of the copyright owner to engage in mashups or acts of remixing. Lessig believes that the key to mashups and remix

9648-544: The focus to all games regardless of game system. Originally coded in basic HTML and sporting an orange color scheme, and located at remix.overclocked.org, a subdomain of Lloyd's webcomic, the site underwent several visual redesigns before moving to www.ocremix.org in July 2003 and its present design in 2004. Initially the site was hosted by ZTNet and run directly by Lloyd; in 2006, it became self-sufficient and moved to dedicated hosting, and, in 2007, Lloyd registered OverClocked ReMix as

9782-404: The game was completed before the visuals and gameplay. OC ReMix founder David "djpretzel" Lloyd directed the soundtrack and served as the organization's contact with Capcom "to ensure that working with a large fan community was as close as possible for Capcom to working with a single composer". Jimenez praised HD Remix' s music as "above and beyond our expectations" and OC ReMix's efforts as "one of

9916-408: The game's music, scored by Jake "virt" Kaufman , would be arranged for OC ReMix in the future. I just wanted to let you know that I support what you're doing with game music. [I completed this] in both your honor and Nobuo Uematsu's. — Jeremy Soule to David W. Lloyd (djpretzel), upon submitting Final Fantasy VI "Squaresoft Variation" to OverClocked ReMix In addition to praising OC ReMix and

10050-446: The ground up). Carey worked with producer Puff Daddy to create the official Bad Boy remix of "Fantasy". The Bad Boy remix features background vocals by Puff Daddy and rapping by Ol' Dirty Bastard, the latter being of concern to Columbia who feared the sudden change in style would affect sales negatively. Some of the song's R&B elements were removed for the remix, while the bassline and " Genius of Love " sample were emphasized and

10184-470: The heyday of Cantopop in Hong Kong in the late 1970s to early 1990s, many hits were covers of English and Japanese titles that have gained international fame but with localized lyrics (sometimes multiple sets of lyrics sung to the same tune), and critics often chide the music industry of shorting the tune-composing process. Although modern cover versions are often produced for artistic reasons, some aspects of

10318-425: The intentions and vision of the original designer/artist. Thus the concept of a remix can be applied to visual or video arts, and even things farther afield. Mark Z. Danielewski 's disjointed novel House of Leaves has been compared by some to the remix concept. A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in

10452-587: The interpreting artist and the copyright holder, or recording published tunes can fall under a mechanical license whereby the recording artist pays a standard royalty to the original author/copyright holder through an organization such as the Harry Fox Agency , and is safe under copyright law even if they do not have any permission from the original author. A similar service was provided by Limelight by RightsFlow , until January 2015, when they announced they will be closing their service. The U.S. Congress introduced

10586-521: The invitation of composer and series co-creator Tommy Tallarico ; ReMixes were played in the concert hall before the show at the June 29 and June 30, 2007 Kennedy Center performances in Washington, D.C. According to a 2005 interview, the organization has never received negative feedback from a game composer or game publisher, and Lloyd stated, "Like all communities surrounding fan works, we're out, first and foremost, to honor that which we love, and I think

10720-481: The issue of intellectual property becomes a concern. The most important question is whether a remixer is free to redistribute his or her work, or whether the remix falls under the category of a derivative work according to, for example, United States copyright law. Of note are open questions concerning the legality of visual works, like the art form of collage , which can be plagued with licensing issues. There are two obvious extremes with regard to derivative works. If

10854-412: The item. A song, piece of artwork, book, poem, or photograph can all be remixes. The only characteristic of a remix is that it appropriates and changes other materials to create something new. Most commonly, remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a large variety of reasons: Remixes should not be confused with edits, which usually involve shortening

10988-779: The label published its first officially licensed remix, an arrangement of " Song of the Ancients " from Nier for streaming or purchase. According to Lloyd, OC ReMix has grown steadily over the years, in terms of both visitors and submissions. Influxes of new visitors happened whenever a piece about the site was published on a news site such as Slashdot and Electronic Gaming Monthly . The site has been covered by sites such as Electronic Gaming Monthly , G4techTV , PC Gamer magazine, 1UP.com, Game Informer , Ars Technica , Minnesota Public Radio , Hyper magazine, and others. OC ReMix does not advertise or market itself, though OverClocked ReMix makes appearances at fan conventions ; its first

11122-461: The late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first, Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along

11256-623: The main character from various original strips by Garfield creator Jim Davis). "A feminist remix is a creative resistance and cultural production that talks back to patriarchy by reworking patriarchal hierarchical systems privileging men. Examples include Barbara Kruger's You are not yourself (1982), We are not what we seem (1988), and Your body is a battleground (1989) Barbara Kruger , Orlan's (1994) Self-Hybridizations Orlan , Evelin Stermitz 's remix, Women at War (2010), and Distaff [Ain't I Redux] (2008) by artist Sian Amoy. In recent years

11390-709: The mechanical license to head off an attempt by the Aeolian Company to monopolize the piano roll market. Although a composer cannot deny anyone a mechanical license for a new recorded version, the composer has the right to decide who will release the first recording of a song. Bob Dylan took advantage of this right when he refused his own record company the right to release a live recording of " Mr. Tambourine Man ". Even with this, pre-release cover versions of songs can occasionally occur. Live performances of copyrighted songs are typically arranged through performing rights organizations such as ASCAP or BMI . Early in

11524-517: The mid-1950s still heard their favorite artists playing live music on stage or via the radio . And since radio shows were for the most part aimed at local audiences, it was still rare for an artist in one area to reach a mass audience. Also radio stations tended to cater to broad audience markets, so an artist in one vein might not get broadcast on other stations geared to a set audience. So popular versions of jazz , country and western or rhythm and blues tunes, and vice versa, were frequent. An example

11658-520: The mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx , energizing both and helping to create hip-hop music . Key figures included, DJ Kool Herc and Grandmaster Flash . Cutting (alternating between duplicate copies of the same record) and scratching (manually moving the vinyl record beneath the turntable needle) became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of

11792-443: The mid-20th century, the notion of an original version of a popular tune would have seemed slightly odd – the production of musical entertainment was seen as a live event , even if it was reproduced at home via a copy of the sheet music , learned by heart or captured on a gramophone record . In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible. This made

11926-503: The most influential group of remixers for the disco era. The Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high-profile remixer to do so.) His contemporaries included Arthur Baker and François Kevorkian . Contemporaneously to disco in

12060-483: The most part, shared entertainment with their parents in ways their children had become reluctant to do. The jukebox and the personal record disc player were still relatively expensive pieces of machinery — and the portable radio a great novelty, allowing truculent teenagers to shut themselves off. Tunes by introducing or "original" niche market artists that became successful on the mass audience hit parade charts are called crossovers as they "crossed over" from

12194-517: The most popular style of music in the mid-1950s / mid-1960s was still the professional light orchestra, therefore popular recording artists sought that format. For many purists these popular versions lacked the raw earthiness of the original introducing artists. Most did not have the kudos that rebellious teenagers craved, the street credibility — of rock and roll music; most were performed, and some were written, by black artists not heard in popular mass entertainment markets. Most parents considered

12328-455: The most rewarding aspects of working on SF HD Remix ". Capcom's then-Vice-President of Strategic Planning & Business Development, Christian Svensson, described the soundtrack as "impactful" and claimed in an interview that in demos of the game the remixed music was praised before any other aspect. In its review of HD Remix , IGN commended OC ReMix's work as "a great tribute to the original soundtrack". Other entities with favorable reviews of

12462-515: The name of the original artist in large letters with a tiny disclaimer like as originally sung by or as made popular by . More recently, albums such as the Kidz Bop series of compact discs , featuring versions of contemporary songs sung by children, have sold successfully. In 2009, the American musical comedy-drama television series Glee debuted, featuring several musical performances per episode. The series featured solely cover songs performed by

12596-460: The next phase. Others such as Cabaret Voltaire and the aforementioned Jarre (whose Zoolook was an epic usage of sampling and sequencing ) were equally influential in this era. After the rise of dance music in the late 1980s, a new form of remix was popularised, where the vocals would be kept and the instruments would be replaced, often with matching backing in the house music idiom. Jesse Saunders , known as The Originator of House Music,

12730-422: The original mix. The remix is also widely used in hip hop and rap music . An R&B remix usually has the same music as the original song but has added or altered verses that are rapped or sung by the featured artists. It usually contains some if not all of the original verses of the song however they may be arranged in a different order than they originally were. In the early 1990s, Mariah Carey became one of

12864-409: The original sound electronically; cover versions give a performer the ability to adapt music to their own style, typically allowing them to change the genre of a song and recreating it to their own taste. For example, in 2008, Fall Out Boy covered Michael Jackson 's hit song " Beat It ", changing the genre from pop rock to a more punk rock feel. Another example is when My Chemical Romance covered

12998-461: The original versions of songs. Thanks to a combination of guest raps, re-sung or altered lyrics and alternative backing tracks, some hip-hop remixes can end up being almost entirely different songs from the originals. An example is the remix of " Ain't It Funny " by Jennifer Lopez , which has little in common with the original recording apart from the title. Slow ballads and R&B songs can be remixed by techno producers and DJs in order to give

13132-574: The original, but he ended the remix with an ad-lib on the outro. Mariah Carey 's song " Heartbreaker " was remixed, containing lyrical interpolations and an instrumental sample from " Ain't No Fun (If the Homies Can't Have None) " by Snoop Dogg . A separate music video was filmed for the remix, shot in black and white and featuring a cameo appearance by Snoop. In 2001, Jessica Simpson released an urban remix of her song " Irresistible ", featuring rappers Lil' Bow Wow and Jermaine Dupri , who also produced

13266-402: The original. The term "cover" goes back decades when cover version originally described a rival version of a tune recorded to compete with the recently released (original) version. Examples of records covered include Paul Williams ' 1949 hit tune " The Hucklebuck " and Hank Williams ' 1952 song " Jambalaya ". Both crossed over to the popular hit parade and had numerous hit versions. Before

13400-403: The original. For example, Sir Mix-a-Lot 's 1992 rap " Baby Got Back " was covered by indie rock singer Jonathan Coulton in 2005, in an acoustic soft rock style. Coulton's cover was then covered, without attribution, in 2013 by the show Glee , and was so similar that Coulton, among others, alleged plagiarism of his arrangement and melody. Some producers or recording artists may also enlist

13534-460: The others), which varied radically from their original sound and were not guided by pragmatic considerations such as sales or "danceability", but were created for "art's sake". In the 1990s, with the rise of powerful home computers with audio capabilities came the mash-up , an unsolicited, unofficial (and often legally dubious) remix created by "underground remixers" who edit two or more recordings (often of wildly different songs) together. Girl Talk

13668-476: The past ten years making pop music that is unmistakably R&B." Moreover, Jones concludes that "Her idea of pairing a female songbird with the leading male MCs of hip-hop changed R&B and, eventually, all of pop. Although now anyone is free to use this idea, the success of "Mimi" [ref. to The Emancipation of Mimi , her tenth studio album released almost a decade after "Fantasy"] suggests that it still belongs to Carey." John Norris of MTV News has stated that

13802-410: The people who create cutting-edge music in such genres as synthpop and aggrotech are solo artists or pairs. They will often use remixers to help them with skills or equipment that they do not have. Artists such as Chicago -based Delobbo, Dallas -based LehtMoJoe , and Russian DJ Ram, who has worked with t.A.T.u. , are sought out for their remixing skill and have impressive lists of contributions. It

13936-416: The permission of the copyright owner where those derivatives are highly transformative and do not impact upon the primary market of the copyright owner. There certainly appears to be a strong argument that non commercial derivatives, which do not compete with the market for the original material, should be afforded some defense to copyright actions. Stanford Law professor Lawrence Lessig believes that for

14070-435: The potential of "serial productions" of a piece to find markets and expand the tastes of listeners. In 1995, after doing " California Love ", which proved to be his best selling single ever, Tupac Shakur would do its remix with Dr. Dre again featured, who originally wanted it for his next album, but relented to let it be on the album All Eyez on Me instead. This also included the reappearance of Roger Troutman , also from

14204-544: The remix was "responsible for, I would argue, an entire wave of music that we've seen since and that is the R&;B-hip-hop collaboration. You could argue that the 'Fantasy' remix was the single most important recording that she's ever made." Norris echoed the sentiments of TLC 's Lisa Lopes , who told MTV that it's because of Mariah that we have " hip-pop ." Judnick Mayard, writer of TheFader , wrote that in regarding of R&B and hip hop collaboration, "The champion of this movement

14338-461: The remix."). In addition, the original version's beginning line "You remind me of something/I just can't think of what it is" is actually sampled from an older Kelly song, " You Remind Me of Something ". Kelly later revealed that he actually wrote "Ignition (remix)" before the purported original version of "Ignition", and created the purported original so that the chorus lyric in his alleged remix would make sense. Madonna's I'm Breathless featured

14472-410: The remixes his manager made after they had severed ties, because he claimed it was his "moral right" to turn these future remixing opportunities away if he had wanted to. The two parties reached an agreement in 2016 that kept Play Records from making any new remixes. 50 Cent tried to sue rapper Rick Ross in October 2018 for remixing his " In da Club " beat, due to their publicized feud. However,

14606-770: The same theme. An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work. It is essentially a reworked abstraction of the original work while still holding remnants of the original piece while still letting the true meanings of the original piece shine through. Famous examples include The Marilyn Diptych by Andy Warhol (modifies colors and styles of one image), and The Weeping Woman by Pablo Picasso, (merges various angles of perspective into one view). Some of Picasso's other famous paintings also incorporate parts of his life, such as his love affairs, into his paintings. For example, his painting Les Trois Danseuses , or The Three Dancers ,

14740-417: The same. From the very beginning, the intent was to encourage games from all platforms, arranged in as many musical genres as possible. That's what made us different – that was the 'big idea.' —David W. Lloyd (djpretzel), 3D World The website's format was derived from Commodore 64 arrangement website C64Audio.com, then a host for many fan arrangements; Lloyd chose to have OverClocked ReMix expand

14874-504: The series' titular glee club until near the end of its second season with the episode " Original Song ". The series still primarily uses cover songs of both chart hits and show tunes, occasionally as mashups or distinct variations. The show's musical performances have been a commercial success, with over twenty-one million copies of Glee cast single releases purchased digitally, and over nine million albums purchased worldwide. Australian alternative/indie radio station Triple J presents

15008-520: The services of a sample replay company such as Titan Tribute Media or Scorccio, in order to replicate an original recording with precision detail and accuracy. A song may be covered into another language. For example, in the 1930s, a recording of " Isle of Capri " in Spanish, by Osvaldo Fresedo and singer Roberto Ray, is known. Falco 's 1982 German-language hit " Der Kommissar " was covered in English by After

15142-445: The site and company itself. OverClocked ReMix's primary focus is hosting and distributing video game music arrangements. The site hosts more than 4,000 "ReMixes" from a variety of genres , submitted by more than 900 "ReMixers". ReMixes are available for individual download and through bundled BitTorrent distributions, and are searchable through a database of games, composers, companies, systems, and ReMixers. ReMixes are released under

15276-455: The song appeal to the club scene and to urban radio. Conversely, a more uptempo number can be mellowed to give it " quiet storm " appeal. Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing the tempo slightly as he removed ornamental elements to soften the "attack" of a dancefloor filler. These remixes proved hugely influential, notably Lisa Stansfield 's classic single " Change " would be aired by urban radio in

15410-444: The song at the beginning and end of the video "You Know That Ain't Them Dogs' Real Voices". Indie artist Grimes has called "Fantasy" one of her favorite songs of all-time and has said Mariah is the reason there is a Grimes. M.C. Lyte was asked to provide a "guest rap", and a new tradition was born in pop music. George Michael would feature three artistically differentiated arrangements of " I Want Your Sex " in 1987, highlighting

15544-403: The song is substantively dissimilar in form (for example, it might only borrow a motif which is modified, and be completely different in all other respects), then it may not necessarily be a derivative work (depending on how heavily modified the melody and chord progressions were). On the other hand, if the remixer only changes a few things (for example, the instrument and tempo), then it is clearly

15678-432: The song more important than the performing artist and rival cover or 'copycat' versions would vie for success. In previous generations, some artists made very successful careers of presenting revivals or reworkings of once-popular tunes, even out of doing contemporary cover versions of current hits. Since the 1950s, musicians now play what they call "cover versions" (the reworking, updating, or interpretation) of songs as

15812-695: The soundtrack include Eurogamer , GameSpot , Official Xbox Magazine , and GamesRadar , as well as long-time game composer "The Fat Man" George Sanger , who referred to the Capcom-OC ReMix collaboration as "Game Audio 2.0". In addition to its free albums, the site partnered with Capcom in 2013 to release OC ReMix's first commercial album, For Everlasting Peace: 25 Years of Mega Man , featuring licensed arrangements of various Mega Man soundtracks. In 2014, OverClocked ReMix expanded its publishing wing into an associated record label, OverClocked Records, through which it sells licensed songs and albums. In July 2015,

15946-764: The source material as to be unrecognizable, and obvious sub-par execution. The site also maintains a database of the skills of members of its community to encourage artist collaboration. Lloyd and other staff also conduct interviews with prolific ReMixers, video game music composers, and celebrities about video game music creation. In addition to the individual ReMixes, OC ReMix also hosts albums of arrangements and original music. These albums are typically created as collaborations among groups of ReMixers; OC ReMix has released over 70 albums. The majority of these are albums of arrangements, though it also hosts and distributes original soundtrack albums for indie games . These albums are released for free, and are generally created by members of

16080-430: The targeted country, jazz or rhythm audience. Also, many songs originally recorded by male artists were rerecorded by female artists, and vice versa. Such a cover version is also sometimes called a cross cover version , male cover , or female cover . Some songs such as "If Only for One Night" were originally recorded by female artists but covered by mostly male artists. Reworking non-English language tunes and lyrics for

16214-405: The taste of the intended audience. Other artists release new versions of their own songs, like German singer Nena who recorded an entire album with great success, with new versions of older hits. Cover songs can be used to display creativity of a performers work through the talent of another artist's previous production. Not to be confused with a remix , which is defined as altering or distorting

16348-560: The track. It samples the Kool & the Gang 's song " Jungle Boogie " (1973) and " Why You Treat Me So Bad " by Club Nouveau (1987). Released on July 12, 1999, " Always You " remix by Jennifer Paige , reached number six on the Billboard Dance/Club Play chart. The main single of " I Turn to You " by Melanie C was released as the "Hex Hector Radio Mix", for which Hex Hector won

16482-478: The version by the artist(s) who first introduced the tune, and highly competitive record companies were quick to take advantage of this. This began to change in the late 1930s, when the growing record-buying public began including a younger age group. During the swing era , when a bobby soxer went looking for a recorded tune, say " In the Mood ", typically she wanted the version popularized by her favorite artist(s), e.g.

16616-480: The vocal tracks , but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating hooks , and adding various effects like echo, reverberation and delay . The German krautrock band Neu! also used other effects on side two of their album Neu! 2 by manipulating their previously released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using

16750-476: The way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single (" Ten Percent ", by Double Exposure ). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries ( Jim Burgess , Tee Scott , and later Larry Levan and Shep Pettibone ) at Salsoul Records proved to be

16884-428: The west, a CG Portrait Collection Disc was also included in the Saturn bundle. North American owners would get Virtua Fighter Remix for free if they registered their Saturns, while Japanese customers would later receive a SegaNet compatible version. Sega would also bring Virtua Fighter Remix to Sega Titan Video arcade hardware. Because remixes may borrow heavily from an existing piece of music (possibly more than one),

17018-429: The whole or a substantial part of the original material has been reproduced, copied, communicated, adapted or performed – unless a permission has been given in advance through a voluntary open content license like a Creative Commons license, there is fair dealing involved (the scope of which is extraordinarily narrow), a statutory license exists, or permission has been sought and obtained from the copyright owner. Generally,

17152-754: The works on it, some professional game composers have submitted their own ReMixes to the site. The first was in late 2002 by George Sanger, "Fat Dance", remixing his own composition from The 7th Guest . In early 2004, this was followed by a second ReMix of its kind, "Squaresoft Variation" ( Final Fantasy VI ) by Jeremy Soule, who dedicated the arrangement to both OC ReMix founder David W. Lloyd and Final Fantasy series composer Nobuo Uematsu . In 2005, Sanger provided another ReMix of his own work performed alongside Team Fat colleagues and game composers Dave Govett, Joe McDermott and K. Weston Phelan, entitled "Wing Theme Surf" ( Wing Commander ). Composer Tommy Tallarico released Earthworm Jim Anthology , an album of music from

17286-651: Was Otakon 2006 in Baltimore, Maryland . In April 2008, Lloyd and Oji joined Six Apart 's Anil Dash , MetaFilter 's Matt Haughey , Reddit 's Alexis Ohanian and Fark 's Drew Curtis for a panel discussion on virtual communities at Internet meme convention, ROFLCon , co-sponsored by Harvard University and the Massachusetts Institute of Technology . Beginning in 2008, OC ReMix promotional CDs have been given away as contest prizes at every performance of orchestral game music concert series, Video Games Live at

17420-426: Was a revision that brought it up to date for a 1950s Hollywood musical, and was used in the 1952 film Singin' in the Rain . In 1978, it was covered by French singer Sheila , accompanied by the B. Devotion group, as a disco song, once more updating it to suit the musical taste of the era. During the disco era there was a trend of taking well known songs and recording them in the disco style. More recently "Singin' in

17554-427: Was expanded when rhythm and blues songs began appearing on pop music charts. In the early days of rock and roll , many tunes originally recorded by R&B and country musicians were still being re-recorded in a more popular vein by other artists with a more toned-down style or professional polish. This was inevitable because radio stations were reluctant to play formats outside their target audience's taste. By far

17688-557: Was once a web site which hosted hundreds of unofficial remixes of Björk's songs, all made using only various officially sanctioned mixes. Other artists, such as Erasure , have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users. The band has also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases. Remixing has become prevalent in heavily synthesized electronic and experimental music circles. Many of

17822-553: Was the first producer to change the art of remixing by creating his own original music, entirely replacing the earlier track, then mixing back in the artist's original lyrics to make his remix. He introduced this technique for the first time with the Club Nouveau song "It's a Cold, Cold World", in May 1988. Another clear example of this approach is Roberta Flack 's 1989 ballad "Uh-Uh Ooh-Ooh Look Out (Here It Comes)", which Chicago House great Steve "Silk" Hurley dramatically reworked into

17956-488: Was working on. "ReMix" was a term he invented to distinguish interpretive arrangements from a remix which typically involves less transformative alterations to master recordings. Over the next few months, Lloyd began adding arrangements from other artists. At the time, there was a mixing scene that focused only on Commodore 64 music, with an electronica emphasis, but I love arranging, and I wanted an outlet where I could hone my skills while encouraging others to branch out and do

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