Entertainment For Lively Minds
The power of a production revision
Posted by DougieJ on 10 July 2010 - 11:31pm.
While I enjoy Whitesnake's Here I go Again in its original 1982 form, it does frankly sound like a rough demo compared to the unashamed pop rock classic of the 1987 incarnation.
Similarly, I can't abide early Belle and Sebastian, but a sprinkling of a Trevor Horn production (couldn't eat a whole one, but just enough is magical) worked wonders on Dear Catastrophe Waitress - still an album I listen to today.
Cream's 'Crossroads' better than Robert Johnson's anyone? Ok, too much too soon - work up to it slowly...
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I own a disaster
Megadeth remixed/remastered thee Rolls Royce of speed/thrash metal albums - So far.. So good... So What?! and made an absolute arse out of it.
Nature should not be tampered with IMO.
and via Planet Rock I've heard Lee Kerslake and Bob Daisley were peeved at being replaced on the remasters of Ozzy's first two albums, guess what? Ozzy has apologised, blamed Sharon and promised new remasters with the original drums and bass.
you couldn't make this shit up
Then again
some reworks are just too too perfect...
or even...
Oh!
I thought you were talking about bands who'd fucked up their own shit, sorry I didn't read yer whole post Dougie. Boy is my face red, I better lay off this joint for a while...
No problem sir
the point still stands. In vastly different genres both Whitesnake and B&S are felt by 'true fans' to have 'fucked up their own shit'. I merely posit an alternative view, which is that said opinion may in fact be utter nonsense, balderdash, poppycock or indeed 'shite'.
No!
The big hair 1987 Whitesnake were an abomination compared to the classic Moody/Marsden line-up.
Abso-bloody-lutely!
The original is warm and soulful with as much subtlety as Trousersnake ever mustered. The 1987 version is a great wheezing brute of a song, sagging under countless layers of studio polish and appalling musicianship.
Take That
The Jim Steinman remix/redo of Never Forget (with the children's choir "and we've reached so far...") is a gigantic thing next to the thinner album original version.
Yeah, I listen to Take That.
And why not?
As the Doctor might say, I like Take That. Take That are cool.
The single version of Soldier Girl by The Polyphonic Spree is absolutely marvellous, a belting pop tune. The album version is a complete yawn: none of the punch or immediacy of the single. It just meanders. I'm not sure which is the earlier recording.
Here's the glorious one. It's several BPM faster, I now realise, than the album version. Makes a huge difference.
at last...
I though I was going Mad! I loved this when it came out then bought the album and could never work out why I didn't love it as much any more. I'm off to Itunes to buy the single version right now. Thank you.
also..
The Jim Steinman remix has a frankly bizzare edit when it all kicks off into the final chorus. It never fails to make me smile as Ole Jim Lad shoe horns a massive trumpet break into a tiny space for which it was never intended. It reminds me of that bit at the end of The Good Humor Man off of that there Forever changes. May be Barlow is a big Love fan and it was done as a homage (Forever changes = Everything changes? it's a thin and ill thought out theory but I'm going with it anyway).
How I wish
that the same team who produced British Sea Power's Open Season had got the job for its successor Do You Like Rock Music? That tinny, blustery sound of the latter just ruins it for me, even though the songs are fantastic. Here's hoping it gets a makeover at some point, and that the new one (due Feb 2011) sounds as good as the previous records.
I've rattled on about this before, so apologies for repeating myself.
Brimful of Asha
Remixed (and shifted up a tone) version got all the radio play. Original (and much more laidback version) is what you actually got as the lead track on the 45 (well, CD single). They both have their merits...
Good shout
It took me about 10 years to decide, but I think I like the original version the best.