Train, was not just proto-house-it set in place a template, deep cultural indentation. “You’re The One For Me,” the post-disco anthem by the Brooklyn-based group D. Listen to (almost) all of these remixes via our Spotify playlist. (Alright, it might take you a little longer than that to read this.) Come join us across seven different decades to discover the remixes that brought us to this point, and what brought us to this point in the history of the remix. This month heralds the 45th anniversary of the public debut of the 12-inch single, so we thought it would make sense to explore 45 true musical revolutions per minute. Through the 21st century we’ve seen the form used to brush the cobwebs off of dusty compositions and artists, and to further blur technological and marketing lines between musicians, DJs, and producers. Remixes then hit the mainstream hard in the 1990s-legitimizing the rise of electronica, digitizing rock ’n’ roll in intriguing ways, and inviting new voices to collaborate on pop and rap tracks that would far outshine the originals. The second was the American Northeast of the disco era, with a range of musical connoisseurs combining and embellishing recordings to try to pump up club attendance and record label sales figures. ![]() The first parent scene of remix culture was Jamaica as rocksteady and ska became reggae, with studio hands removing vocals from singles to give production effects and “toasting” sound system DJs a place to play. Remixes employ this hardware, as well as other performers, to make unpopular music popular or to make good music popular for different reasons and audiences. This equipment has since settled into the useful roles we now hear throughout music. ![]() These would first lead to musique concrete and its offshoots-sonic experiments from the sparse to the cacophonous, high art for art’s sake. Electric and electronic instruments, meanwhile, would generate and mimic wide ranges of melody, rhythm, and even chaos with shrinking barriers of cost and size. Since at least the 1940s, tape recording and multitrack production allowed musicians to repeat and manipulate existing performances. After exploring the cover song as a means to these ends, now Treble examines the remix as a path to glory and even flawlessness. In that vein, music easily lets artists take existing work and make something newly great, better than the original, or both. Others say there are different conditions for and types of perfection-one person’s trash, blah blah blah. Some advise that instead of missing that rare or even impossible goal, we should use attempts to get there to develop a reputation of excellence. ![]() Countless inspirational speakers and doers know how to tamp down expectations of perfection.
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