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the three albums electronic released each explored a distinct harmonic landscape, from pure electro and european house to glossy, unabashed pop and full-throttle rock. the nuanced, often dense production they employed lent itself perfectly to outside remixers, and marr and sumner used a variety of djs, both prominent and obscure, to give many of their songs a different spin. their best remixes were done by established acts, however, such as stereo mcs’ work on idiot country (incorporating film dialogue and converting the synth riff from the original into an organ part) and danny rampling’s version of feel every beat, which has a sweeter, even more positive feel than the original.
other mixes took a more classic approach, like the extended version of getting away with it and the straightforward cut-and-paste job on gangster by john m pillin jr and steve smith, while others were either perfunctory or even unnecessary, ie, the coarse mix of haze on the vivid single and the tuneless promo versions of prodigal son, all from 1999. the best remixes from the twisted tenderness era are undoubtedly darren price’s treatment of make it happen and the two rougher single versions of vivid and late at night, all equal to the originals and still commercially available today. other versions that actually bettered the original versions were stephen hague’s disappointed 7" and the promo edit of for you.
some remixes were neither essential nor perfunctory, such as the miami edit of lucky bag, the 12" of disappointed, and the fanclub mixes of until the end of time; they all make a good evening’s listening but lack the heart of the original versions. much more memorable are dna’s get the message and stephen hague’s feel every beat 7"; like most great remixes they introduced fresh aspects (piano parts on both in this case) as well as accentuating and manipulating the source sounds. electronic released a total of 38 remixes from 1989 to 1999, seven of which were of second nature — almost an hour’s worth. the rare promo mixes from 1996 are actually pretty good, especially the modern and journey versions, which have a satisfying, melodic propulsion in the verses.
also worthy of a mention are the handful of unofficial mixes which have cropped up over the years. at least four versions of getting away with it have been released: the dance mix, a three-minute piece from a various artists compilation called skin beat — the first touch; the raindance mix by peter fenton and steve smith, which appeared on an art of mix compilation in 1990; the razormaid mix, from the longrunning dj service; and the 1998 mrs craig mix by john pillin. these are mainly variations on the original 12" versions, with the raindance mix throwing in samples from pet shop boys’ heart and new order’s fine time. there was also a take on disappointed by the dj subscription service hot tracks, a dry disco mix which fused the electronic and 808 state versions. (the issue of hot tracks released exactly a year before included get the message, presumably another exclusive cut-up.)