A remix album is an album consisting of remixes or rerecorded versions of an artist's earlier released material. The first act who employed the format was American singer-songwriter Harry Nilsson (Aerial Pandemonium Ballet, 1971).[1] As of 2007, the best-selling remix album of all time is Michael Jackson's Blood on the Dance Floor: HIStory in the Mix (1997).
Aerial Pandemonium Ballet (1971) by Harry Nilsson is credited as the first remix album.[1] It was released after the successes of "Everybody's Talkin'" and The Point!, when he decided that his older material had started to sound dated.[citation needed] Neu!'s Neu! 2 (1973) has also been described as "in effect the first remix album", as many tracks see the duo "speed up, slow down, cut, doctor, and mutilate the material, sometimes beyond recognition".[2]
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In the 1980s, record companies would combine several kinds of electronic dance music, such as dance-pop, house, techno, trance, drum and bass, dubstep, hardstyle, and trap into full-length albums, creating a relatively low-overhead addition to the catalogs and balance sheets.[3] Soft Cell's Non Stop Ecstatic Dancing (1982) and The Human League's Love and Dancing (1982) are credited for inventing the modern remix album.[4] Since this time, this kind of release is not only seen as an easy cash-in for an artist and their label, but also as an opportunity to provide a second lease of life for a record.[5] In reggae music, it is not uncommon for a whole album to be remixed in a dub style.[6][7]
The album features fourteen EDM remixes of Wiggles classics, including earworms such as 'Hot Potato', 'Fruit Salad', 'Toot Toot, Chugga Chugga', Big Red Car,' alongside a reworking of the group's new viral hit, Bouncing Balls. It's a vibrant celebration of joy, silliness, and pure fun!
The Wiggles are no strangers to leaving their mark on the mainstream music world. In 2021 their cover of Tame Impala's "Elephant" (a mashup with their catchy smash hit "Fruit Salad") was one of the biggest hits of the year, with Kevin Parker himself being blown away and later joining The Wiggles on stage to perform it live in concert. The Wiggles followed that up with the release of a new album, call "tag_hash_114__________, featuring classic covers from artists like Rhianna, Rolling Stones, AC/DC, The White Stripes and Queen.
About The WigglesFor over three decades, The Wiggles, the world's most popular children's entertainment group have educated, entertained, and enriched the lives of millions of pre-schoolers (and their parents) all over the globe. Today, generations of fans that grew up watching The Wiggles are sharing their love of them with their own children. Having sold over 30 million albums and DVDs and 8 million books globally, as well as accumulating over 2 billion music streams and 3 billion views on YouTube, The Wiggles continue to dominate the preschool entertainment scene. Their live shows annually sell out to audiences on three separate continents, and their videos are seen in over 190 countries around the world. For more information, visit www.thewiggles.com, subscribe to their YouTube channel, follow on Instagram, Facebook, and TikTok or listen on Spotify and Apple Music.
SOPHIE remixed most songs from the original album, and also included other unreleased material. Presenting an amalgamation of club inspired beats, SOPHIE flipped the contexts of the original OOEPUI songs with techno style drum patterns and chopped up vocal samples, with some extended ambient pieces thrown into the mix.
Both sides of the album were eventually uploaded to YouTube soon after the clutch bags were delivered, and on September 6th, 2019 were also uploaded to streaming services such as Spotify and Apple Music.
He says this sideline has grown to take up maybe a fifth of his working life, and has recently developed a laptop setup that means he can do much of his remixing during otherwise dead time on his extensive tours. So far this year, he's played over 60 concerts in Europe and North America, with a further 60 or so slated toward the end of 2018 and into 2019 in Japan, Australasia, North America and Europe.
Next, the commissioning company locates the relevant multitracks, which is not necessarily a straightforward task. "For example, at one point I was asked if I wanted to remix the back catalogue of a legendary rock band, but they just couldn't find enough of the tapes," Wilson says. The other factor here is fiscal: every visit to the tape library or archive is usually at a cost to the company. When the tapes are located, they are baked, directly transferred to 96kHz, 24-bit digital files, and supplied to Wilson as a complete set of raw WAV files. "So if there's 10 minutes of test tones on the tape, I'll get that," he explains, "or if there's 10 minutes of silence at the end of the reel, or of the band tuning up, that will also be part of what I receive."
Even more close listening follows, as Wilson lines up the original stereo mixes to compare them with the master-take multitracks. This is a slow, painstakingly intense part of the process. "I start listening to 10, 15 seconds at a time, and it'll be 'Oh yeah, the guitar's muted for those first four bars of the second verse, so I need to do that in my session.' Then I'll listen to the next 10 seconds, and 'Ah, OK, there's a phaser been added to the hi-hat there.' And so on through each song."
Finally, Wilson reaches the point where he can actually remix the track whilst remaining true to the artist's original vision: he stresses that his stereo remixes provide an enhanced version of the original and not a wholly new experience. His task to this end is often made easier by the clarity and exposure that the original multitracks can reveal, and then it's a case of making adjustments only where necessary. "At this stage in the workflow, it's a matter of refining," he says, "trying to get as close as possible to the original mix, tweaking EQs and so on. Over a period of days, I'll finish the mix, and then when I go back to it a couple of days later I'll hear things that aren't quite right. Usually the artist will have some feedback, too. Sometimes they'll have memories of how they did things, which is really useful. But," he adds with a smile, "mostly they don't remember much at all. Hopefully, then the artist will come up and listen, and maybe they'll have some more feedback based on listening to it in my studio."
The first pro-level machine he owned was a Tascam 16-track tape recorder, which he had for a couple of years in the late '80s and early '90s, using it to record his early No-Man records with Tim Bowness and the first Porcupine Tree album. Soon after that he discovered ADAT machines and the world of early digital recording. "When I listen to my ADAT albums now, they have that signature of the early generation of digital recording, the opposite of analogue. At the time, I liked the clarity and silent noise floor after years of struggling with faulty analogue tape machines, but now, of course, they sound a bit harsh and cold, and I recognise that some of the beauty of sound is missing. Nowadays, digital recording has come a long way."
Steven Wilson: ""The guys in Apple in Hamburg that take care of Logic have become good friends, to the point that they actually changed some of the 5.1 implementation based on my suggestions."As for Logic, it could just as easily have been Pro Tools or Cubase, but his local dealer suggested C-Lab Creator. "The guys in Apple in Hamburg that take care of Logic have become good friends, to the point that they actually changed some of the 5.1 implementation based on my suggestions. I can't imagine being able to do that with most companies of that size. You'd think Apple of all companies would be the most impenetrable of all, but they've been fantastic. So I've been a Logic guy probably for more than 20 years now."
So Wilson taught himself how to make surround mixes. The next Porcupine Tree album, Fear Of A Blank Planet (2007), came out with a Wilson surround mix. "And it got a Grammy nomination for best surround sound mix! So I thought wow, I must be doing something right."
Fripp is a musician who revels in intelligent observations, and Wilson recalls one in particular concerning the Crimson King album. "He told me that he believed the traditional notion of genius is wrong: this idea that there are certain artists in the world who are musical geniuses. He believes that genius is something that visits people temporarily and then moves on. In 1969, he said, King Crimson were temporarily visited by the spirit of genius, and they made that one record. He wasn't saying all their other records aren't good too, but he said that record had the magic. And then the spirit of genius moved on, maybe to Pink Floyd, who did Dark Side Of The Moon, or whoever it was took the next step into creative genius. That's a really interesting point. Because I think there's no artist who hasn't made at least one below-par record, so how does that square with the notion of them as a genius?"
"That's almost inevitable," he says. "Honestly, to me, bearing in mind I don't know a lot about analogue tape, it sounds like the original was mixed on to a faulty machine or a machine that wasn't lined up properly. And it's always sounded a bit like that: very muffled and hissy. I was able to fix that, because the source multitrack tapes sounded beautiful. The remix has clarity missing from the original, it sounds beautiful, and to some it's the definitive mix now. But understandably, other people would probably still rather hear the original analogue mix with all its flaws. I accept that. That's not something that can ever be reconciled with a remix project, which is why I always try to encourage the record company to include both the original and the remix on a reissue set, as two different experiences."
On songs like 'Ritual', Yes squeezed far more than 24 instruments onto 24 tracks; modern DAW recording gave Steven Wilson the luxury of being able to separate out all of these elements onto their own Logic tracks.Wilson describes Topographic as fantastically ambitious, but he knows that must have made it a nightmare to mix originally. "So I come along 40 years later, and of course I can load up the 24-track original and split out everything on to its own channel. So a 24-track tape ended up being maybe an 80-channel session, because I've given every little piece its own track. And that means I can treat each of those parts with its own EQ, its own compression, reverberation, treatment and placement. In that way, I was trying to get a little more out of it than they possibly could in the original mix." 152ee80cbc
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