15 Oct 2004
Change the record 
"The remix - a radical and creative act of musical subversion, or an excuse to ruin a perfectly good song for cash?"

It all depends on who's twiddling the knobs, says Dorian Lynskey in the Guardian Review's entertaining article on the history of the remix to coincide with the imminent release of Depeche Mode's Remixes 81-04.

The paper also compiles its Top Ten Mixes which features New Order's Bizarre Love Triangle (Shep Pettibone Extended Dance mix) ["The go-to guy of the 1980s remix scene (Madonna, Pet Shop Boys, Run-DMC) gave New Order one of their biggest US hits."]

Other choice entries include Paid In Full (Coldcut's Seven Minutes of Madness mix) from 1988 and My Bloody Valentine's Soon (Andrew Weatherall mix) from 1990.

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A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

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