We received a few votes of confidence yesterday in the comments, so we’ll keep this train rolling as we look back on remixes that were worth the time and effort.
Here was another Post-Modern Remix that managed to make me roll over like a puppy. When Virgin were releasing the first China Crisis greatest hits collection, they reactivated the debut CC single with a Steve Proctor remix. The CD single was immediately purchased, but the remix was of the most modest kind possible. Not so for the delightfully sumptuous 12″ version, that I only purchased years later! For a house DJ to have remixed a China Crisis number, it could have been a disaster, but fortunately, Proctor had a featherlight touch that was the best of both worlds. The 12″ began with a long, nearly three minute ambient buildup that emphasized the most delicate and airy synth patches imaginable. It sounds like a beautiful spring morning has been transcribed to the wax, and in that sense, makes the song even more successful than its earlier mixes. Then, after the buildup climaxes, the song was given a new, clubworthy rhythmic emphasis, with some spot on female vocals added to the mix. It’s just one of the most lovely remixes I can name, and Proctor cites it as one of his favorite mixes as well.
If you bought club music during the mid 80s, you no doubt have work that states that “Mixmaster Phil Harding” was responsible. His work with PWL kept him very busy for at least five years straight, before the SAW sound was ejected from the Record Cell due to burnout. This is my favorite Dead Or Alive number, and to this day, I’m not burnt out on it [like some others I could name]. The melody is gorgeous enough to survive the voice of Pete Burns, so that says a lot! But it’s not the infectious melody or mix per-se that grabs me with this record. It’s the guitar.
I first heard the song when MTV played the video and it was a valid enough earworm, so I bought the album it came from and when I heard the song on the CD, I was treated to some surprising guitar solos, courtesy of Matt Aitken; the “A” in SAW. The injection of guitar made the song even better, so when I bought the US 12″ single a bit later, I was delighted to hear that it had even more of the euphoric guitar that had surprised me on the LP mix. Aitken’s solos here were particularly joyous and upbeat. They added tremendously to the overall track, which manages to occupy 9:00 of your time in a breezy and rewarding fashion.
…Out of time for today