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

A Change Request ReVision Of A Timeless Masterpiece.

Buy ReVision

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

Fanfare For Flyte Tyme | A Change Request ReVision Of A Beloved Production From My Favorite Duo | The Magicians Of Minneapolis - Jimmy Jam & Terry Lewis

Human League | Human (Change Request ReVision)

A Change Request ReVision Of A Post-Disco Classic.

Midnight Star | Midas Touch (Change Request ReVision)

Ready For The World | Oh Sheila (Change Request ReVision)

Today’s ReVision is my recreation of a song that for years I thought was produced by Prince, for its very academic Minneapolis instrumentation and production choices. Furthermore, I always thought this was written for and about Sheila E. 

Come to find out, none of those things are true. 

From Flint, MI and discovered by groundbreaking Detroit DJ, The Electrifying Mojo, Ready For The World signed to MCA in 1985. Releasing this single the same year, this song went to #1 on the R&B, Pop, and Hot Dance Club Play charts that year, becoming the first-ever single to hold the #1 spot on all three of these charts simultaneously.

The group disbanded in 1991 after many failed attempts to reclaim the success of their first two albums. 

I have always loved this song,  a definitive memory from my childhood, from rollerskating rings to raves, the most Prince song bit that Prince didn’t write.

Ready For The World | Oh Sheila (Change Request ReVision)

Peter Gabriel | In Your Eyes (Change Request ReVision)

For this ReVision, I recreated one of my all-time favorite Peter Gabriel masterpieces. 

Inspired by an African tradition of ambiguity in song between romantic love and love of God, “In Your Eyes” eventually brought Peter Gabriel his first certified Gold Single in 2005, almost twenty years after its release on his fifth studio album, So, from 1986. 

An apogee of Peter’s ingenious studio production techniques meeting his benchmark libretto talents, “In Your Eyes” is a timeless tale of discovery and the human condition. 

Featuring Gabriel’s newly-innovated gated reverb drums, Sequential Circuits Prophet 5, live bass, and then, state-of-the-art Fairlight CMI sampler, my ReVision sees a full-on re-orchestration of this track with an Oberheim OB-X, Sequential Circuits Prophet 5, Arturia CMI, and updated drum programming.

Peter Gabriel | In Your Eyes (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)

The Weeknd | Secrets (Change Request Revision)

For this ReVision, I reworked the song “Secrets” from the Canadian singer, Abel Tesfaye aka The Weeknd, off of his third studio album, Starboy. 

The original features samples of “Pale Shelter” by Tears For Fears and is a cover of “Talking In Your Sleep” by The Romantics. 

Having been a fan of the production work from Toronto and the OVO section of sound design, my version removes and rearranges parts of the original, discarding the beat-driven focal point, taking a more sonic space design approach to this work.

The Weeknd | Secrets (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)

Jill Scott | Golden (Change Request ReVision)

The first single from her second studio album, Beautifully Human: Words and Sounds Vol. 2. This album earned Jill Scott her first Grammy Award with "Cross My Mind" in 2005.

This first single, “Golden”, has always stood out to me as a timeless reminder of how precious life is, the passing of time, and that it all starts and ends with self-respect.

Featuring standard Philly instrumentations and arrangements, this song is a beacon of the new class of contemporary Philly music that producers like Anthony "Ant" Bell are responsible for generating.

This ReVision is dedicated to the memory of the homie, @seanhaleyofficial [RIP Brother]. This was created the same week of his passing—two years ago—he was a man who certainly lived his life Golden.

Beautifully Human: Words and Sounds Vol. 2

Golden (Change Request ReVision)

Jill Scott | Golden (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)

Prince | I Would Die 4 U (Change Request ReVision)

For this ReVision, I recreated my favorite from one of the best albums of all time. 

"I Would Die 4 U" is the fourth single from Prince’s sixth studio album—the second with The Revolution—Purple Rain. With over 25 million copies sold, this Diamond status record is the third best-selling soundtrack album of all time. 

Touching anything from this musical genius is sacred territory, but I have always wanted an instrumental to this most revered track off this magnum opus of Jamie Starr’s.

Prince | I Would Die 4 U (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)

The Cure | In Between Days (Change Request ReVision)

For this ReVision, I did one of my all-time favorite tracks from the seminal British ensemble. 

Written by Robert Smith—Smith solely wrote the entire full length—“In Between Days” was The Cure’s first single from their sixth album, 1985’s The Head on the Door. 

Inspired by Siouxsie and the Banshees and The Human League, Smith wanted to present an album that featured a variety of styles and moods. This single—often compared to New Order’s "Dreams Never End”—was their first single to reach the Billboard Hot 100. 

The lyrical content surrounding the maturity of loss is contrasted by the decidedly up-tempo music. This song sees a very familiar ensemble orchestration from The Cure, featuring Smith on vocals, guitar, and—the most distinctive instrument that came to define their unique sound—the 6-string bass.

The Cure | In Between Days (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)

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)

George Benson | Love X Love (Change Request ReVision)

For this ReVision, I reworked a top cut from a man that has never done anything musically suspect in his decades-long prolific reign as one of the treasures of Black American Music. 

“Love X Love” is the second single off of his 18th studio album, 1980’s Give Me The Night. Being recorded and produced during prime time the late 70s and early 80s era, this album is produced by Quincy Jones. This album would score Benson three Grammy’s in 1981 for Best Male R&B Vocal Performance, Best Jazz Vocal Performance, Male, and Best R&B Instrumental Performance. This album would also pick up a Grammy for Quincy, winning Best Instrumental Arrangement for the song "Dinorah, Dinorah."

Give Me The Night features almost the exact same line up of session players and writers Quincy used to make most of his work around this time, including most of the members of Rufus—David "Hawk" Wolinski, Kevin Murphy, and John "JR" Robinson—“Love X Love” was written by another regular of Quincy’s circle, Ron Temperton. 

Just three years after this album, Ron, Quincy, and these session players from Rufus would go on to make one of the most famous records of all time with Michael Jackson’s Thriller. 

I did an extended arrangement of this song that I have always wanted, recreating it with Live Electric Bass, Fender Rhodes, and a Juno-106.

George Benson | Love X Love (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)

Janet Jackson | Escapade (Change Request ReVision)

For this ReVision, I took on the third single from her fourth album Rhythm Nation 1814, released in 1989. 

Written, recorded, and produced by the dynamic duo of Jimmy Jam & Terry Lewis, “Escapade” peaked at number one on the Billboard Hot 100 for three weeks in early March 1990, becoming Jackson's third number-one single, and her sixth consecutive number-one single on the Hot R&B/Hip-Hop Songs chart. This song also won a BMI Pop Award for Most Played Song in 1990.

Produced during the prime time of their relationship, Rhythm Nation 1814 is arguably the trios best effort—commercially and artistically—mastering the formula they had been progressively perfecting since their first outing together with 1986’s Control. 

Remade with the classic Minneapolis lineup—LinnDrum LM-2, Oberheim DX, Oberheim OBX, and Yamaha DX7—this was recreated with @EventideAudio spatial processing, using the SP2016 Reverb, and the brand new Instant Phaser Mk II.

Janet Jackson | Escapade (Change Request ReVision)

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