Neil Frances | Music Sounds Better With You (Change Request Dreamixes)

The Los Angeles-based Indie-Pop duo, Neil Frances, covered the Thomas Bangalter-produced original, which features the vocals of Benjamin Diamond. Released in 2017, this version takes a new approach to a very well-known tune, recreating the magic without the cliche. Taking this version into a more DJ-friendly place, I rearranged it, added quite a bit more drum programming, and layered many pads, strings, and a square lead to top it off. Enjoy! 

Artist: St∆rdust (T.Bangålter / B.Diåmond)
Track: Music Sounds Better With You
Cover: Neil Frånces (2017)
Remix: Ch∆nge Request Dreåmixes

Soundcloud: https://bit.ly/3buKIPR 
Bandcamp: https://bit.ly/3er3Tfs 
Artist Site: http://bit.ly/3equrNy

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Neil Frances | Music Sounds Better With You (Change Request Dreamix)

Noga Erez | Story Feat. Rousso (Change Request Dreamix)

Noga Erez (נגה ארז‎) is an Israeli singer, songwriter, and producer, who began her career with intentions of only releasing singles. Since many of the singles she created paired, thematically, extremely well, her label—City Slang—convinced her to take on a full-length album concept. 

In 2017, Erez released her first full-length record "Off the Radar" with her partner Ori Rousso to critical acclaim. Labeled as "very high rhythmic dance music with political content”, Erez has been compared to artists such as M.I.A., FKA Twigs, Björk, and Grimes.

For this Dreamix, I wanted to work on a song from this duo that I really love. I find their artwork to be compelling in every way—the concepts, characters, plots, musical styling, production, and elaborate videos—telling emotive narratives that always have a deeper meaning than their face value. 

A single from her second full-length effort, 2021’s ‘KIDS’—released March 26—“Story” sees Erez having an internal dialogue with herself—that ultimately turns external with her companion—following around her inner thoughts. 

Going from exclamations of confidence to laments of self-doubt, “Story” was the perfect song for creating a more dancefloor-oriented version—adding new drum programming, extended sections—navigating the intricate transitions, and agile arrangements of the original in a more connected and smoother way. 

For just her second outing on the world stage, Noga Erez—along with her partner in crime, Ori Rousso—demonstrates their musical aptitude by wielding the power of perception, deception, and retribution.

Written By Erez and Rousso
Produced By Ori Rousso
Remixed By Change Request 

Soundcloud: https://bit.ly/3gXgd8b 
Bandcamp: https://bit.ly/3b36UA2 
Official Video: https://bit.ly/33jZJil 
Artist Website: https://bit.ly/3egtHuf

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Noga Erez | Story Feat. Rousso (Change Request Dreamix)

Gorgon City | Elevate Feat. Anne-Marie (Andrew Emil Dreamix)

English music production duo consisting of the North London producers Kye "Foamo" Gibbon and Matt "RackNRuin" Robson-Scott, Gorgon City are currently signed to Positiva Records, the UK-based label which is a division of Universal Music Group. 

Their 2013 debut single "Real" peaked at number 44 on the UK Singles Chart with their 2014 single "Ready for Your Love" reaching number 4 on that same chart one year later. Released in October of 2014, their debut album 'Sirens’ peaked at number 10 on the UK Albums Chart.

Featuring guest vocalist Anne-Marie Rose Nicholson aka the English singer and songwriter Anne-Marie—four-time Brit Awards nominee and a regular name in the UK Charts—in 2018 she signed with Warner Bros. Records and has been a coach on the tenth series of The Voice UK, since the start of 2021. 

For this Dreamix, I made an extended mix of this song around the time when the full-length “Sirens” was being released in 2014/15. It features additional drum and rhythm section programming, extra spatial sound designs, and has a more DJ-Friendly arrangement, that feels more like a dance single than the three-minute forty-one-second original mix. 

Written By K.Gibbon, M.Robson-Scott, E.Thomas, and M.Baker
Produced By Gorgon City aka Foamo and RackNRuin
Remixed By Andrew Emil aka Change Request

Soundcloud: https://bit.ly/3nLXMEP  
Bandcamp: https://bit.ly/3vE93tz

Gorgon City | Elevate Feat. Anne-Marie (Andrew Emil Dreamix)

Paul Johnson | She Got Me On (Andrew Emil Dreamix)

Everything But The Girl | Missing (Change Request ReVision)

ESG | Dance To The Beat Of Moody(Ae's VogueDown)

Artist: Saucy Lady
Track: Baby Tell Me Why (Change Request Dreamixes)
Label: Star Creature Universal Vibrations
Cat No: SC 5008
Released: 18 Aug 23

Saucy Lady - Baby Tell Me Why (Change Request Dreamix)

Robert Owens | Ping Pong (Andrew Emil & Alex Zelenka Dreamixes)

Robert Owens | Ping Pong (Andrew Emil & Alex Zelenka Extended Dreamstrumental)

Robert Owens | Ping Pong (Andrew Emil & Alex Zelenka Extended Dreamix)

Robert Owens | Ping Pong (Andrew Emil & Alex Zelenka Dreamstrumental)

Robert Owens | Ping Pong (Andrew Emil & Alex Zelenka Dreamix)

Elbert Phillips & Andre Espeut - Tears (Andrew Emil Dreamix)

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Eric Sutter - On My Mind (Andrew Emil Dreamixes)

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Eric Sutter - On My Mind (Andrew Emil Dreamstrumental)

Eric Sutter - On My Mind (Andrew Emil Dreamix)

Ae's Dub Edit mash up of Giano's reedit of Tupac's version of Bobby Caldwell dubbed out with Blaze's "My Beat" featured over it.

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Blaze | Around To My Dub (Ae's Dub Edit)

Ae's Dub Edit of J-Louis's Version From The Ever Impressive LA Collective Soulection Crew.  

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Sade | Sweetest Taboo(J-Lewis Remix)(Ae's Dub Edit)

Andrew Emil & Jon Iler  ReRub of Janet Jackson 

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Janet Jackson - Night (Andrew Emil & Jon Iler Edit)

I made this Ae Dub Edit after discovering the sad news of Whitney's passing.  Please Download and Share in honor of this great American singer...  RIP... 

@AndrewEmil 
@ChangeRequest 
Website: bit.ly/2Vc9qOv 
Facebook: bit.ly/2vvHZQb 
Soundcloud: bit.ly/2vDI30h  
Instagram: bit.ly/2J87UFH

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Whitney Houston | I'm Every Woman (Ae's Dub Edit)

A Change Request ReVision Of A Timeless Masterpiece.

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Maze Feat. Frankie Beverly | We Are One (Change Request ReVision)

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.

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

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)

Jamiroquai | You Give Me Something (Change Request ReVision)

For this ReVision, I wanted to take a stab at an artist whose work has been a great source of inspiration for many modern disco and jazz-funk enthusiasts.

Formed in 1992, and fronted by singer-songwriter Jay Kay, London-based jazz-funk ensemble Jamiroquai rose to fame with their 1996 song, and most importantly video, “Virtual Insanity”. This single and iconic music video earned them 10 nominations at the 1997 MTV Video Music Awards, and a Grammy Award for Best Pop Performance By A Duo Or Group With Vocal, the same year.

Fast forward 4 years, “You Give Me Something” was released as the second single from their fifth studio album, A Funk Odyssey. The group’s first single to be released in DVD Single format, this song was written by Jay Kay, guitarist Rob Harris, bassist Nick Fyffe, and contributed to certified European Platinum sales status of the full-length.

I recreated and arranged this as an extended 12” mix instrumental DJ Tool. This version will be able to offer an alternative mix of this single for your prime-time DJ purposes.

Soundcloud: http://bit.ly/3sxxasl 
Bandcamp: https://bit.ly/3bJMM5w
ArtistSite: http://bit.ly/3uMCmeb

Jamiroquai | You Give Me Something (Change Request ReVision)

Janet Jackson | When I Think Of You (Change Request ReVision)

For this ReVision, I recreated my favorite song off of my favorite album of Ms. Jackson’s. 

Written by Jackson, and her newly adopted two dads: Jimmy Jam and Terry Lewis. Already having much success with their recent productions for SOS Band, and a host of the endless talent that Minneapolis was manufacturing at that time—such as Cherrelle and Alexander O’ Neal—this dynamite trio would go on to influence pop music immeasurable over the next three decades, as a team, and individually. 

The third single from Janet Jackson's third studio album, 1986’s Control, “When I Think of You" would be Janet Jackson’s first Billboard Hot 100 Number 1 Hit. 

At just 20 years old, she was the youngest artist since Stevie Wonder to have a Number 1 Billboard Top 100 record, which also made her and brother Michael the first two siblings to both share that accomplishment. 

This song—as well the album Control—features the very early era of Jam and Lewis adapting their Minneapolis Sound of electronic funk—developed alongside former band members, and high school mates, Morris Day, and The Purple One, Mister Jamie Starr—to Pop Music. 

The second single, “Nasty”—with its innovative phrase sampling usage and a unique timpani melody—is widely regarded as the blueprint for the birth of a genre they would ultimately godfather, New Jack Swing. 

I reimagined this song with the standard Minneapolis Orchestrations in play: pitched up LinnDrum, snappy and mid-range Oberheim DX, Moog Bass, and the new editions of early FM Synth sound with the Yamaha DX7, Roland D-50, and 1984’s Roland Super Jupiter, the MKS-80.

Janet Jackson | When I Think Of You (Change Request ReVision)

Maze Feat. Frankie Beverly | Joy And Pain (Change Request ReVision)

For this ReVision, I chose an iconic song that has had a great influence on me and my artwork throughout my lifetime. Featuring 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.

Featuring conventional instrumentation of this era for an R&B ensemble—Electric Bass, Guitar, and Fender Rhodes, Oberheim OB-X brass—including innovative use of the—then-new—Roland CR-78 CompuRhythm Drum Machine.

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.

Maze Feat. Frankie Beverly | Joy And Pain (Change Request ReVision)

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)

Teddy Pendergrass | Love TKO (Change Request ReVision)

For this ReVision, I took some artistic freedom to redo one of my all-time favs from Mr. Teddy Pendergrass. This song was written by Cecil Womack & Gip Noble, Jr. for singer David Oliver appearing first on his album Here's To You in 1980, then being recorded by Teddy P for his fourth album the same year, TP.

Reaching Number 2 on the Billboard R&B Chart, this album from the mighty Teddy Pendergrass was the only album he recorded for Philadelphia International Records without any input from label founders Gamble and Huff.

“Love T.K.O.” has been covered by several artists including Deborah Harry, Regina Belle, Hall & Oates, Bette Midler, Boz Scaggs, Lambchop, Michael McDonald, Seal, and Modern Man. The original writer Cecil recorded it with Linda Womack, as Womack & Womack, appearing as "T.K.O." on their debut album Love Wars in 1983.

Using a mixture of Roland, Oberheim, Moog, and Fender instruments, I remade this song for the modern era with a touch of WNUA love.

@AndrewEmil 
@ChangeRequest 
Website: bit.ly/2Vc9qOv 
Facebook: bit.ly/2vvHZQb 
Soundcloud: bit.ly/2vDI30h 
Instagram: bit.ly/2J87UFH

Teddy Pendergrass | Love TKO (Change Request ReVision)

Moloko | Sing It Back (Andrew Emil Dreamix)

For this Dreamix, I put together a classic from an all-time favorite artist, Róisín Murphy. 

Written and performed by Murphy and English bassist Mark Brydon—from Chakk and Cloud Nine—this song was recorded under the name Moloko. 

Released as a single in 1999 off Moloko's second album, I Am Not a Doctor, “Sing It Back” peaked at #4 in the UK after it was given the remix treatment from the hit factory of Boris Dlugosch at Peppermint Jam. 

Inspired during her time in New York City, Murphy later co-wrote and appeared on Boris Dlugosch's "Never Enough" single as a trade for his remix work that took this song to new heights. 

I remade this one with the standard orchestrations of late 90s house music, including live electric bass, guitar, and a mixture of Fender Rhodes, electric pianos and Sequential Circuits Prophet-5 pads, and @eventideaudio modulation and reverberation. 

Enjoy!

Moloko | Sing It Back (Andrew Emil Dreamix)

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)

Madison Avenue | Don't Call Me Baby [The Dronez Old School Mix] (Ae’s Dub Edit)

For this personal DJ Tool, I am releasing a private stock Ae Dub Edit of a sleeper remix of the Australian duo’s first single off their only album, 2000’s “The Polyester Embassy”.

Madison Avenue was an Australian electronic music duo consisting of writer-producer Andy Van Dorsselaer and singer-lyricist Cheyne Coates. 

“Don’t Call Me Baby”, was their highest point in the duo’s history, peaking at number two on the ARIA Singles Chart in 1999 and number one in New Zealand and the United Kingdom in 2000. 

The song features a bassline sample from "Ma Quale Idea" by Italo disco artist Pino D'Angiò, which was initially based on the McFadden & Whitehead super-hit, "Ain't No Stoppin' Us Now”. 

This 1999 single got the proper dancefloor treatment from the go-to dynamic team and masters of the vocal house middle-ground, NYC/NJ’s Subliminal Records. 

The Dronez is a remix ensemble made up of the core production team at Subliminal Records—Erick “More” Morillo, Harry "Choo Choo" Romero, and Jose Nuñez—who all had reputable production careers individually before forming Subliminal Records, but would collaborate as a trio under this moniker. 

Only releasing a handful of mixes using this title, the super trio would take Pete Heller’s instant classic “Big Love” to a euphoric place, as well as make singles from groups like Madison Avenue more assessable. 

I always loved this early Speed Garage/UKG/US-NYC Garage House style of records coming from NYC around this time—largely pioneered from the distinctive artwork of the one and only Todd Edwards—but this needed a DJ dub without the vocals and since that didn’t appear on the single, I made it myself. 

Enjoy! 

@AndrewEmil
@ChangeRequest
Website: bit.ly/2Vc9qOv 
Facebook: bit.ly/2vvHZQb 
Soundcloud: bit.ly/2vDI30h 
Instagram: bit.ly/2J87UFH

Madison Avenue | Don't Call Me Baby [The Dronez Old School Mix] (Ae's Dub Edit)

Her's | What Once Was (Ae's Dub Edit)

Because This Was Needed

@AndrewEmil

Her's | What Once Was (Ae's Dub Edit)

The SOS Band | No One's Gonna Love You (Change Request Extended Fantasy)

Having written for The SOS Band before and freshly coming off being fired from The Time—by The Purple One himself, Mister Jamie Starr—Jimmy Jam & Terry Lewis officially started their full-time music production careers with this song and this album at Master Sound Studio for Tabu Records in Atlanta.

A favorite single off The SOS Band’s fifth studio album—1984s Just The Way You Like It—“No One's Gonna Love You”, much like this entire record, was written and produced by the Dynamic Duo from Minneapolis. 

Peaking at just #6 on the Billboard R&B Albums charts, this song would continue to see Jam & Lewis developing their early takes of drum machines in popular R&B, this time featuring the brand new Roland TR-808. 

Students of Prince, but graduates of The Minneapolis Sound, this would be one of the first productions of theirs that would go on to heavily influence groups like Loose Ends and 52nd Street as well as being sampled 49 times by artists such as Tupac, New Edition, Snoop Dogg, Foxy Brown, Maxwell, and A$AP Rocky among many others. 

I have always loved this song and like most of their productions from this era, their arrangements and formatting were hyper-focused on developing their quick succession of sections that could all be hooks, a benchmark of the Jam & Lewis songwriting aesthetic. 

Forging a new rhythm section here composed in the zeitgeist, I added all the Minneapolis Sound drum favorites for the era in the mix—from The Oberheim DMX/DX and LinnDrumm LM-1/LM-2 to the standard Roland TR-808 percussion ensemble as well as The Sequential Circuits Drumtraks (which wasn’t used on this album as it was released in the same year of it)—to put some “Get Right” on this 25-year old recording. 

Extending the instrumental sections and symmetrically repeating the hook, I made the longest version of this there is, clocking in at just over 10mins. Saturating the polyrhythmic additional programming, this modern version is now armed for Dance Floor Destruction or Dinner & A Movie Devastation.

A Special Shoutout To A Special Someone:
Whereas The Surreality Of The Reality Is What Really Feels Like A Fantasy

Enjoy!

@AndrewEmil 
@ChangeRequest 
Website: bit.ly/2Vc9qOv  
Facebook: bit.ly/2vvHZQb  
Soundcloud: bit.ly/2vDI30h   
Instagram: bit.ly/2J87UFH

The SOS Band | No One's Gonna Love You (Change Request Extended Fantasy)

Next | Too Close (Change Request ReVision)

For this Revision, I went after an instrumental that has gotten much play from me over the years in countless sets. A 90s classic from my Junior year of high-school from the group R&B Next. 

“Too Close” is was written by Terry Brown, Robert Huggar, Raphael Brown and features uncredited vocals from Vee of Koffee Brown. 

Released in September 1997 as the second single from their debut album ‘Rated Next’, this song reached number one on the US Hot 100 and R&B charts and has been certified Platinum. 

Produced by Kay Gee aka DJ Kay Gee from Naughty By Nature, featuring a sample of the Kurtis Blow user-classic Christmas Rappin’, “Too Close” is a quintessential Chicago Steppers Delight. 

I remade this mid-tempo groove sandwich with standard instrumentations, including Fender Rhodes, DX7 Electric Piano, and Prophet Bass and Pads, reprogramed the drums around the same sample taken from the Kurtis Blow track.

Next | Too Close (Change Request ReVision)

Drexciya | Aqua Worm Hole (Change Request Extended Fantasy)

Written By Stinson & Donald 
Produced By Drexciya
Edited By Change Request

@AndrewEmil 
@ChangeRequest 
Website: bit.ly/2Vc9qOv  
Facebook: bit.ly/2vvHZQb  
Soundcloud: bit.ly/2vDI30h   
Instagram: bit.ly/2J87UFH

Journey of the Deep Sea Dweller III

Aqua Worm Hole (Change Request Extended Fantasy)

Extended Fantasy

Drexciya | Aqua Worm Hole (Change Request Extended Fantasy)

Howard Shore | The Game 
(Change Request Extended Edit)
Soundcloud: https://bit.ly/3dKDZlT

Howard Shore | The Game (Change Request Extended Edit)

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

Popular tracks by Andrew Emil