Nine classic songs reimagined and reprogrammed.

The Tunes They Are A-Changin

Meg Birch's vocals from an acoustic version of the Beatles' classic song remixed in the style of Howard Jones.

Here Comes The Sun (feat. Meg Birch), Howard Jones remix

An 80s remix of the classic Christmas song. Starting with some Frankie Goes to Hollywood, the track borrows from Wham's Last Christmas, and "Do they know it's Christmas". A BBC report fro the 80s on the UK's White Christmas (read by Jane Hill) adds some historic context. 

The short trumpet riff (at 2:10) was inspired by Paul McCartney talking about how he wrote notes that were too high to be played by a session musician, on one of the Beatles tracks - these notes are also high!

The track ends on a downbeat note with the clanging chimes of doom, from "Do they know it's Christmas."

White Christmas (feat. JP Cooper) 80s remix

I was a Suzanne Vega fan back in the 80s, but ironically I never liked this track. I wanted to add some music & structure to the song in the hope that I would enjoy it more - which I now do. The vocals are nice and clean, as I was able to take the original version without having to process away the music.

I added the repeated short form chorus, "I am thinking of your voice", which helps better convey the overall message behind the song. It's actually similar to Abba's "The Day Before You Came", in its listing of the mundane nature of time when you're waiting for (or thinking of) someone special. Before working on this song I never really understood what it was about.

Tom's Diner (feat. Suzanne Vega), Electro remix

Inspired by an episode of Picard during which the original was played by Jean-Luke's mother. I wanted to evoke the atmosphere of a rainy Parisian night, and a gloomy jazz bar. The eagle eared listener will notice that I accidentally dropped a couple of lines from the second verse - as a non French speaker I found it tricky to follow what I'd included and what I'd omitted. Apologies for French speaking listeners if the lyrics make less sense now than they should!

Non, Je Ne Regrette Rien (feat. Édith Piaf), Thomas Dolby remix

Following a visit to the West End show, Mary Poppins, I was inspired to play around with this classic song. The piece went through several versions with the final mix moving between sparse and busier sections. Julie Andrews has a great voice, which was a pleasure to work with.

Feed The Birds (feat. Julie Andrews), EDM remix

Inspired by the original version, which was played on BBC Radio 4's Dessert Island disks. The vocals on this version are taken from the Molly Drake project - their version is much jazzier than this.

The bass line that enters halfway was subconsciously inspired by pMachinery - after listening to the original producer discussing working on it back in the 80s.

The meaning of the song is a little lost in this remix, but it builds a sense of place and of a journey to realisation, as does the original.

I Remember (feat. Lauren Kinsella)

After watching (the disappointing) Thor: Love and Thunder I was inspired to write something related. The end of Happy Christmas (War is over) seemed like a good fit along with the Hidden Citizen's track. Connie Talbot had a great Happy Christmas version on her YouTube channel, and her vocals and Essa work well together.

The background war sound effects that start and end the song come from the imperial war museum. They took some form of data collected at the time and used it to recreate the sounds of the first world war ending. Although not an audio recordingthe gunshot right at the end of this piece is, arguably, the last shot taken back on November 11th 1918.

Happy Christmas (War is over)/Heroes Fall (feat. Essa & Connie Talbot), Divine Comedy remix

Carrie's self-titled song from the Andrew Lloyd Webber musical Cinderella. It's a fantastic musical (which I saw twice) that really didn't deserve to close in the West End - it was another victim of Covid.

The spoken section is from Carrie's video blog just before she goes on stage for the first time. The crowd chanting is from a WWE wrestling match, I love the energy and rawness it has.

Bad Cinderella (feat. Carrie Hope Fisher), extended 80s remix

I was reminded of this song while watching Welcome to Wrexham. It was used on several episodes (but not all!) as the theme tune. The Peter Gabriel song Downside Up had an appropriate chorus which I felt was in keeping with the overall meaning of the song - The only constant I am sure of, is this accelerating rate of change.

The Times They Are A-Changin (feat. Keb Mo & Peter Gabriel), Erasure remix

The classic song from 1969 remixed with an 80s vibe and atomic bomb tests

Both Sides Now (feat. Joni Mitchell) 80s remix

I enjoyed Spirited, Netflix Christmas offering. This song was a highlight for me, so I thought I'd see if it could be given the 80s treatment.

The New York siren seemed relevant and gives a nice ambience and context.

The picture is the view from the top of the Empire State Building, photographed by me on my last visit to New York.

The View From Here (feat. Octavia Spencer), 80s EDM remix

I love the original version ... and wondered how it would sound without the iconic piano part.

I like the final section where Vanessa sings "If I can just hold you ...", so I've woven it into the song in a couple of extra places.

A Thousand Miles (feat. Vanessa Carlton)80s remix

Peter Gabriel's first solo single reimagined as a UFO close encounter. The air traffic control conversation is a real unexplained flying object sighting over Detroit.

Jehan Barbur is a Turkish singer/songwriter who has a similar timbre to Kate Bush. Peter Gabriel has worked with Kate Bush in the past, so it felt appropriate to bring Jehan into the mix.

Solsbury Hill (feat. Peter Gabriel & Jehan Barbur), 80s remix

Don't You Want Me (feat. Phil Oakey &  Susan Ann Sulley) Louise remix

Planet Earth (feat. Simon Le Bon, Jodie Foster & Michael Caine), Interstellar remix

Great vocals from AbelTriesHerBest remixed with a dash of the 80s. Bill Murry and Andie MacDowell make a guest appearance in the middle 8.

Time After Time (feat. AbelTriesHerBest) Groundhog Day remix

The classic 80s song from Breaking Glass, with a middle 8 taken from Tim Minchin's Groundhog Day musical 'Being Nancy', with some Pet Shop Boys production.

Stay Now (feat Hazel O'Connor & Rebecca Faulkenberry), Pet Shop Boys remix

Life... Can I forgive you? Can I forgive you?
Please help
Help me to find
Hope, so badly timed
Love, leaves your world behind
Faith, of a diffent kind

This strange asylum holds you back
No chains or bars to hold you

Some days I remember
Can I forget you
Can I forgive you
Some weeks I do better
Can I forgive you
Can I forget you

These years go by - Life
Years go by - Life
Years go by - Life
Years go by- Life

No time, no time at all
To stop and unerstand the call
Behind the scenes of every day
Everyone tries to remember

Some weeks I do better
I do better, I do better
Better, better,
I do better some weeks...

Can I Forgive You

The classic Elton John song reimagined with Ariana in lead vocals

Rocket Man chillout version

My, my, did you see that sign?
I don't know nothing, but I know what's mine,
Good God! Did you see them turn?
Here's the light, watch them burn.

Your words, so hard to swallow
With silence sure to follow...

Does it feel like no one needs you?
Does it hurt you, no one's listeniing?
Does it feel like we don't need you?
Does it hurt you, no one's listeniing?

This time, you could try the truth,
hide behind the lies so they could never prove
that you're wrong ... and you just keep on
Looking for more reasons where they don't belong.

Your words, so hard to swallow
With silence sure to follow...

Does it feel like no one needs you?
Does it hurt you, no one's listeniing?
Does it feel like we don't need you?
Does it hurt you, no one's listeniing this time?

My, my ...

This time, you could try the truth,
hide behind the lies so they could never prove,
that you're wrong... and you just keep on

Your words, so hard to swallow
With silence sure to follow

No One's Listening

When Downstream Consequences meet up with the Stock Boys and The Tuesday Club the result is optimal existential inertia and etheric bedlam.

The bus I never take carries Jim Capacity and his Memetic Desire duo towards the war king, who is not dancing.

So... That's A No, with No Recovery playing support.

The Tunes They Are A-Changin

Lazuli Bunting