Change Request ReVision | The Complete Collection

I make these as objective focused etudes in musicianship and sound design. They are practice works in production and writing skills where I recreate/rewrite the entire songs.

Some are tracks that I have always wanted an instrumental for and some are songs I wanted to pull back the technique curtain on, as they are many of my most favorite tracks in the last few decades. As these are representative of my skills in making records, but are not my actual original songs, I give them away for free. 

Reimagined with a variety of different orchestrations, all of these @changerequest ReVisions were created using @waves-audio processing. 

These labors of love offered as FREE DOWNLOADS!

Enjoy! 

Andrew Emil | Change Request

For more information about @andrewemil go here: https://www.andrewemil.com
For more information about @waves-audio go here: https://www.waves.com

FREE DOWNLOADS

Change Request ReVision | The Complete Collection

2019

g list

funkyTown

SoundCloud Weekly

Music In Me (re-work)

New for Midnight Riot Volume 8…

Sneak preview of my contribution for the next instalment of the best selling contemporary underground various album… 

Release December 2014 

Cheers, GB. xx

JUNO

GOLDBOY - Scopin'4Love /// Midnight Riot Volume 8

***FREE DOWNLOAD*** 

Dj Sneak - Funky Rhythm (HateLate In The Ghetto Remix)

Facebook Page: www.facebook.com/HateLateMusic

>>> Go on my Facebook Page ( www.facebook.com/HateLateMusic )and Click on the "FREE DOWNLOAD" button to download them free <<<

Love & Happiness ;)

Dj Sneak - Funky Rhythm (HateLate In The Ghetto Remix)FREE DOWNLOAD

Bad Hair Good (If I could)

Released on Traxsource on the 27th October!

Fireflyin

Groove Assassin & Sol Brown feat Selina Campbell - Fireflyin (DJ Spen & Soulfuledge Remix)

After some spectacular releases on his own Magic Circles imprint and Paper Music, Smashed Atoms explodes onto Hot Digits with Cut This Way. Also featuring some superb remix action from Get Down Edits featuring Micko Roche and Chopshop regular Dave Gerrard!

HOTDIGIT037 Smashed Atoms - Cut This Way (Dave Gerrard Re - Cut) (Preview)

Talking Heads - Burning Down The House (Rhythm Scholar & Apollo Zero Remix) + Dub

Rhythm Scholar and Apollo Zero combine forces to remix this 1983 Talking Heads classic! See if you can spot some other Talking Heads samples along the way, along with tons of Galaga! Also… check out the killer live bass by Keith Holden! <3 :D

Galaga Ringtone and Dub mix also available! 
Download: https://www.mediafire.com/file/96pjm2sc7q652tk/Talking_Heads_Burning_Down_The_House_Rhythm_Scholar_Remixes.zip/file
 
Apollo Zero: @apollozer0 | https://www.facebook.com/ApolloZer0/ | https://hearthis.at/apollozero/
Rhythm Scholar: www.rhythmscholar.com
Bass: Keith Holden | @keithholdenaudio | www.facebook.com/KeithHoldenAudio/

Audio Mastered by The Odd Nocturnal Farmer 

Talking Heads are awesome! If you enjoy this remix, please purchase something from them! :D

Talking Heads - Burning Down The House (Rhythm Scholar & Apollo Zero Remix)

Maze Feat. Frankie Beverly | Before I Let Go (Change Request ReVision)

For this ReVision—my third one from this same group—I chose an iconic song that has had a great influence on me and my artwork throughout my lifetime. Featuring groove-intensive rhythm and blues, combined with a west coast-style songwriting balladry, their sound was something I immediately connected with from the very first time I heard “Joy And Pain” on the radio as a child. 

Often referred to as the “Black Grateful Dead” for their loyal cross-generational fanbase, Maze was formed in San Francisco, California in the late 70s, fronted by the Philly-raised songwriter and former gospel singer, Frankie Beverly. 

Originally called Raw Soul, the group changed their name to Maze upon the recommendation of Beverly’s mentor—as well as a major catalyst for their meteoric ascension in popularity—Marvin Gaye. 

Written and produced by Frankie Beverly and released on their 1981 Live In New Orleans recording, "Before I Let Go”, is the quintessential Maze record. Peaking at number thirteen on the Billboard R&B chart in 1981, this masterpiece would later go on to define the group, achieving iconic status as a cross-generational cultural benchmark of contemporary Black American Music.

“It was about somebody who was really having trouble letting go of something”, states Beverly of the “ode to a love lost” that helped inspire the song's lyrical content. Initially written in a slower tempo, the members of Maze developed the song into the seductive groove that cemented its musical legacy.     

Featuring conventional instrumentation of this era for an R&B ensemble—live percussion, Electric Bass, Guitar, and Fender Rhodes—I replaced the Electric Guitar lead parts with standard polyphonic synth choices for that period, including Sequential Circuits Prophet 5 bright brass pad, layered over a saturated Oberheim OB-X brass tone, for harmonic texture. 

For as much as they have written and recorded timeless songs and records, you really have not fully experienced their spiritual mastery until you've seen Maze Feat. Frankie Beverly live in concert.

Buy ReVision

Maze Feat. Frankie Beverly | Before I Let Go (Change Request ReVision)

Steve Cooper AKA Down Under Disco has been making ripples this past year or so with some quality gear on labels like Thunder Jam and Disco Balls as well as a couple of tracks for Hot Digits Compilations. Here he is in fine form with some great scalpel and original work with a full EP of deep grooves and summery balearic goodness alongside two awesome remixes from Walking Disco's own Saskin S!

HOTDIGIT045 Down Under Disco - Gettin Loose (Preview)

Anita Baker | Been So Long (Change Request ReVision)

For this ReVision, I recreated one my mother’s all time favorite artists. She used to have this album on repeat when I was a child and it always stuck with me as the one song on that LP that I would always go back to. 

Rapture, Anita Baker’s second studio album, released in 1986, this album won her two Grammy Awards, with timeless tunes such as "Sweet Love”, "Same Ole Love”, and this track "Been So Long”. 

Written by Baker, this is one of two songs on the album that features her alone as the sole writer, the other being "Watch Your Step”.

Produced by Grammy Award winner Marti Sharron, this track features standard R&B arrangements of the 80s with her decidedly “Quiet Storm” approach to sound design. 

Featuring live drums, live bass, Yamaha DX7 Electric Piano, Fender Rhodes, Polymoog leads, Oberheim OB-X and Prophet 5 brass, I recreated this song with a modern touch on vintage synths. 

Enjoy! 

- Andrew Emil | Change Request

Anita Baker | Been So Long (Change Request ReVision)

Chaka Khan | What Cha' Gonna Do For Me (Change Request ReVision)

The title track of her third solo album, 1981’s What Cha' Gonna Do For Me" was written by Ned Doheny and Hamish Stuart of the Average White Band. They had recorded the song a year earlier and released it on their LP Shine, produced by David Foster, but it was Hyde Park’s Very Own that took this song to another world.

Released on Warner Bros. Records and produced with Arif Mardin, Chaka Khan’s “What Cha’ Gonna Do For Me” has been a top “port of call” of my personal affinity for the early 80s post-disco electric funk. The Queen Of Everything put this song on the map as the first single off the album that would seal her stardom with other iconic tunes, such as "I Know You, I Live You”, and the Stardust-sampled, “Fate”.

Even beyond my Reprise-styled stripped-down take on this, I also continued to lust after this harmonic motion through an original track—Change Request | Ravaged Romance—that was directly inspired by the chordal arrangements that Doheny and Stuart set forth in their original composition. Have a listen to the evolution of this song—through these four versions—including my two interpretations of this all-time classic.

Average White Band | Whatcha' Gonna Do For Me (1980): bit.ly/31bcD2v 
Chaka Khan | What Cha' Gonna Do For Me (1981): bit.ly/31cRZ28 
Chaka Khan | What Cha' Gonna Do For Me (Change Request ReVision)(2018): bit.ly/2VbGcgH 
Change Request | Ravaged Romance (2020): bit.ly/2VcVQs2

Chaka Khan | What Cha' Gonna Do For Me (Change Request ReVision)

DIS-CONNECTION - Athens based Babis Kotsanis is a music producer-vocalist guitar & bass player.
In his first appearance on Thunder Jam as himself as the vocalist "Disco Boy" with an original track and a remix.
His unique style of producing consist using original samples with no looping.
Australian DJ & Producer 'Downunder Disco' and Tel Telavivan  DJ & Producer ' Disco Funk Spinner' established to additional remixes to this package.

DISCO BOY 

DIS-CONNECTION - DISCO BOY (Disco Funk Spinner Remix)

The Jones Girls | Nights Over Egypt (Change Request ReVision)

For this ReVision, I recreated my favorite song from this Detroit-based trio of sisters who were backup singers for many years for artists such as Aretha Franklin, Lou Rawls, and Diana Ross, before breaking out on their own to form The Jones Girls. 

Written by Kenneth Gamble and Leon Huff protege, Dexter Wansel, this song, and arrangement are quintessential Philadelphia music mastery. Dexter, along with Cynthia Biggs, wrote many hits for other artists, including Yellow Sunshine, Instant Funk, Phyllis Hyman, The Jacksons, MFSB, Teddy Pendergrass, Patti Labelle, Evelyn "Champagne" King, Grover Washington Jr., Lou Rawls, and of course, The Jones Girls. 

“Nights Over Egypt” was the second single from their studio album, 1981’s Get as Much Love as You Can, released on Philadelphia International Records. Most songs on this third studio album of theirs are written by TSOP kingpins, Kenneth Gamble and Leon Huff, and the album reached number twenty-five on the Top Soul Albums Chart in the US. 

For this version, I recreated this R&B Classic with Roland’s Jupiter-8, Sequential Circuits Prophet-5, Live Bass and drums, and the best instrument ever created, the 73 Suitcase Fender Rhodes Electric Piano.

The Jones Girls | Nights Over Egypt (Change Request ReVision)

Hall & Oates | I Can’t Go For That (No Can Do)(Change Request ReVision)

For this ReVision, I took on this classic by a duo who needs no introduction. Dropped right in the middle of their seemingly endless hit factory streak, this song was the second single from their tenth studio album, 1981's Private Eyes.

Landing them their fourth number-one hit single and the second from the same album, this song was written quickly in-between recording sessions for Private Eyes. 

This song makes iconic of the fairly new Roland CR-78 CompuRhythm at the centerpiece rhythm section. The CR-78 was Roland's first microchip-based programmable drum machine. This machine this song marked the beginning of what would become the golden era of synthetic drums taking over the airwaves. 

Released in March of 1981, “I Can’t Go For That (No Can Do)” along with Phil Collins' January 1981 single, “In The Air Tonight”—which also prominently featured the Roland CR-78—would make this first programmable machine from Roland an icon overnight. 

This song also features the state of the art Dave Smith Sequential Circuits Prophet-5, a Korg organ baseline, Fender Rhodes, and simple, but effective guitar motifs. I recreated this song with a Roland CR-78, Prophet 5, Fender Rhodes, Vox Continental Organ, and Live Bass. 

Enjoy!

Hall & Oates | I Can't Go For That (No Can Do)(Change Request ReVision)

We over here at RNT HQ don't give a damn if you've been naughty or nice, we just want you to dance. So we're spreading the holiday cheer the only way we know how...with a burning disco edit courtesy of the homies https://soundcloud.com/superprince1!

You can snag the OG on a tasty 180g wax reissue here:
https://www.juno.co.uk/products/irakere-anung-anunga/664853-01/

Also, grab Superprince wax on RNT and https://soundcloud.com/universalcave here:
https://www.juno.co.uk/search/?q%5Ball%5D%5B%5D=superprince

Razor-N-Tape Reworks

Free Download

Razor-N-Tape Reworks - Superprince Edit - FREE DL

Wham! - Everything She Wants (Dolls Combers Tribute Remix)

TROPICAL VELVET PARTY 26TH JANUARY:
https://www.facebook.com/events/290128908374189/

www.youtube.com/channel/UC6rh-ipGRIfHAX_N7EuuJSA
www.facebook.com/Tropical-Velvet-291983374288261/
twitter.com/TropicalVelvet
www.instagram.com/tropicalvelvetrecords
TRAXSOURCE:
www.traxsource.com/label/18796/tropical-velvet
BEATPORT:
pro.beatport.com/label/tropical-velvet/40791

KORT RETURNS TO HOTTEST FOR OUR FIRST SHOW OF 2019 WITH SAMO ON GUEST MIX DUTIES

1. DIN JAY - WHEN THE SUN GOES DOWN (KORT'S ELECTRIC BLUE REMIX) - TROPICAL VELVET
2. STEVE TAYLOR, OZZY & STIX - HOW I FEEL (RICHARD EARNSHAW REMIX)
3. MOODENA - BOOGIE MONSTA
4. TEDDY DOUGLAS, MARCELL RUSELL - ONLY A FOOL (KC REMIX)
5. NATASHA KITTY KAT, DANNY KANE, SOPHIE PAUL - WEAR IT
6. ENRICO BSJ FERRARI - NEVER BE THE SAME
7. SLAM DUNK'D, CHROMEO, AI - P - NO PRICE (ART OF TONES EXTENDED DISCO MIX)
8. KORT & PHIL CASTLE - CALL MY NAME - TROPICAL VELVET
9. SCOTTY BOY - SHO NUFF
10. CRUSH CLUB, SUPERMINI - WE DANCE
11. STEVEN STONE, TASISTA D'MOUR - JUST ANOTHER LOVER (KORT REMIX)
12. KINGS OF TOMORROW - FINALLY (DARIO D'ATTIS REMIX)
13. ETUR - USHEO - GOTTA MAKE IT
14. HARVEY MASON - GROOVIN' YOU (JOEY NEGRO MASONS REVENGE)

GUEST MIX:

SAMO

TROPICAL VELVET EP104 HOSTED BY KORT GUEST MIX SAMO

Get Down Edits Feat Cut Once - Sweet Love (Mix & Fairbanks Remix)


Written, Produced & Arranged by Darren Daz Dalton (Get Down Edits)
Vocals & Vocal Melodies by Michael Heffernan & Aisling Browne (Cut Once)
Vocals Performed by Aisling Browne (Cut Once)
Remixed by Mix & Fairbanks

Get Down Edits Feat Cut Once - Sweet Love (Mix & Fairbanks Remix) Preview

Download

Wanna Get Down Free Download

Vinyl 7"

https://diegolellilegoedit.bandcamp.com/album/lgf-702-vinyl-7-vito-lalinga-senegals-love-desire

Buy Vinyl

LGF 702 Vinyl 7" Senegal's Love Desire (Lego Unreleased Afro Cut)Preorder

Sharon Redd - Somebody Save The Night 
SImple Dj Friendly Edit By PetkoTurner
DL >> https://hypeddit.com/track/qfzlb4

THIS IS ONE OF THE BEST DISCO CLUB SONGS EVER.

BEST GROOVE, SOUNDING, ARRANGMENT, MOOD, PRESSURE, LYRICS, COOLNESS AND ATMOSPHERE, CONSOLIDATED AND PACKED IN ONE JAM FOR A DISCO CLUB DANCE NIGHT 

In the midst of mounting a comeback in the early 1990s, Redd died of pneumonia on May 1, 1992. Dance Music Report magazine reported that her death was AIDS-related.

Sharon Redd was born in Norfolk, Virginia to Gene Redd and Katherine Redd. Gene Redd was a producer and musical director at King Records, and her stepfather performed with Benny Goodman's orchestra. Her brother Gene Redd Jr. was a songwriter and producer for Kool & the Gang and BMP. Her sister Pennye Ford is also a singer with two albums to her credit and known for her work as the main singer for Snap!.

She began her recording career with four singles in 1968 for the United Artists label, three written and all four produced by songwriter and record producer Bobby Susser. Susser chose the Hank Williams song "Half As Much" to be Redd's first single. Redd's vocals, against Susser's heavy-bass track, made her presence very quickly known to R&B radio stations.

Redd, as a budding actress, got a major break when she starred in an Australian production of the rock musical Hair. She was among a troupe of young African-American imports to the Sydney production, a group which notably included Marcia Hines. Redd appeared in the production from its June 6, 1969 premiere through 1971.

As Redd was becoming famous in Australia, she was interviewed by Barry Sloane on a 1971 episode of "GTK". Her popular adverts for Amoco led to her own television special. Redd and Hair co-star Teddy Williams were asked to leave Australia by the Immigration Department in April 1971 for reasons they believed were race-motivated. Aside from Hair, Redd also appeared in Ti-Jean and His Brothers and, in 1974, traveled to London to star in an American production of The Wedding of Iphigenia. In 1977 Redd played the role of Sherrye in the U.S. television sitcom "Rhoda".[9][10] 1978 also saw Redd feature as a guest in the musical Sgt. Pepper's Lonely Hearts Club Band.

In the mid-1970s, Bette Midler was looking to replace Merle Miller and Gail Kantor, both of whom had left after Midler's 1973 tour to pursue their own interests. Midler auditioned over 70 performers, but Redd landed the job, becoming one of Bette's Harlettes. Aside from performing as a Harlette, Redd also provided backing vocals for Carol Douglas ("Burnin'" and "Night Fever") and Norman Connors ("You Are My Starship"). Having ended their association with Midler, Redd, Charlotte Crossley, & Ula Hedwig released an LP, Formerly of the Harlettes, in late 1977.

In 1979, Redd recorded the disco hit "Love Insurance," released by Panorama Records under the name Front Page, her own vocals going uncredited. But she soon signed a recording contract with Prelude Records, and Redd became the label's most successful artist. Her first album, 1980's self-titled Sharon Redd, was closely followed by two more—Redd Hott (1982) and Love How You Feel (1983). Redd placed several songs on the Hot Dance Club Play chart, including "Beat the Street," "In the Name of Love," and "Love How You Feel."

After these releases, Sharon Redd returned to her successful career as a background vocalist, most notably with the group Soirée, which also included among its members Luther Vandross and Jocelyn Brown. Following the UK top 20 success of a re-recorded "Can You Handle It", she recorded a single entitled "All the Way to Love", with Les Adams. The song remains unreleased. This was to be her last solo recording.

In 1993, Pennye Ford dropped the 'e' from her name and released the album Penny Ford, which featured a duet with her sister entitled "Under Pressure."

Petko Turner Edit

Sharon Redd - Somebody Save The Night (Petko Turner Edit)

Deee-Lite | Groove Is In The Heart (Change Request ReVision)

For this ReVision, I reconstructed the most famous and successful song from one of the leaders of the New York New School of the 1990s. 

Released as the first single from their debut album—World Clique—“Groove Is In The Heart” was released in August of 1990, and shot Deee-Lite into the stratosphere. This track’s crossover appeal was by design—claiming the number one spot on Billboard’s Hot Dance Club Play in 1990—featuring guest vocalists Bootsy Collins and Q-Tip. 

This song—remarkable—was a beacon of creative sampling, as one of the first radio played pop records to feature such an extensive list of source material, including snags from Bel-Sha-Zaar, Herbie Hancock, Vernon Burch, Ray Barretto Theme From Green Acres, Ralph MacDonald, Billy Preston, The Headhunters, Hateful Head Helen, and even more. 

I remade this mimicking the programming of the original—which was a major challenge just to get the percussion sections to emulate a multilayer of samples being summed—added additional drums and rearranged the song to be a longer version that I always wanted. 

I used the Roland JV-1080 to reproduce the horn sections and saturated everything to 1990. This was produced with @EventideAudio effects processing, including UltraReverb, SP2016 Reverb, and Tony Visconti’s Tverb.

Deee-Lite | Groove Is In The Heart (Change Request ReVision)

Glass Slipper - Le Grillon (Original)

Gavin & Robbie Hardkiss Revolution (Sleazy McQueenRemix) Siesta Records

Andrew Emil // Change Request 

A preeminent artist of Chicago's 3rd wave, Andrew Emil is one of house music’s most staunch stalwarts. A concert-trained percussionist since age 11, he earned a chair in his native Kansas City Symphony before eventually moving to Chicago. 

As a traditional musician, Andrew Emil has worked as a keyboardist, arranger, and an orchestrator on recording sessions and productions, cutting his teeth at the former Chicago Trax Recording Studios. 

Credited on over 200+ recordings, his composition and studio productions have ranged from concert works and sound design to film scoring stages and hundreds of releases of electronic music productions. 

After a life in live music performance, from orchestra percussion sections to punk rock ensembles, he crafted a reputation for House Music productions in Chicago under his own name, as well as Broadway & Wilson, and Uptown Tones. 

One of the earlier innovators of the “Jackin House” genre under the Broadway & Wilson moniker with Jeff Bloom, Andrew is never content to stay in one place or style of musical thought for very long. 

He is the only recording artist to do production work simultaneously for Derrick Carter’s Classic Music Company, Mark Farina’s Great Lakes Audio, Gene Farris’ Farris Wheel Recordings, and four-time GRAMMY nominee Steve “Silk” Hurley’s S&S Records.

A string of double-digit singles for prominent labels, including remixes for artists such as Common, Kanye West, Little Louie Vega, Jamie Principle, Steve "Silk" Hurley, Iz & Diz, Fast Eddie, Shalamar, Roland Clark, David Morales, Colette, Amp Fiddler, JT Donaldson, and Gene Farris, to name a few. 

2012 saw the emergence of his epithet, Change Request, with the Change Theory EP on four play music. This new persona allowed the freedom to explore hybrids of mid-tempo live instrument focused jazz-dance-fusion. 

Following this release was “After All” on Seasons Recordings, with another single thereafter featuring house music icon, Chez Damier, “I Wanna Go Back”, including a remarkable rework from Glenn Underground, on Glenview Records. 

The ever-growing collection of songs and musical dialogue eventually led to the conceptual album series from Change Request. Each full-length effort containing a completely separate story and scored via its own unique incidental subtext. 

Emil created AstraVox Music with the award-winning Los Angeles-based composer, Mr. Nathaniel, as a home for his increasing catalog of incidental dramatic musical compositions. 

www.andrewemil.com