Re-edits: Chic - I Want Your Love (Todd Terje Edit)

Tuesday, March 2, 2010

Chic - I Want Your Love (Todd Terje Edit)

By public demand, here is a Todd Terje special. Hey, let's call it Terje-week, and I'll try and keep online all week.

Todd Terje Week - Monday

This one was an instant classic both as original by Chic, and also as this edit was released sometime last year in 2009.
Originally, it was the follow-up to "Le Freak", but it didn't get the same commercial success. However, it is way more sophisticated in its composition and thus, stands the test of time.

Todd TangoTerje's edit emphasizes the hypnotic guitar riff from start and throws in some dubbed vocal samples before the Bernard Edwards trademark bass kicks in. The edit holds this tempo until a 40 second guitar delay rounds things up.

This particular release is out on Supreme.

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About this blog

This blog is dedicated to music re-edits.
No remixes. Just re-edits.
Like Eddie Murphy, I got some rules when I throw down:

Re-edits can only contain elements from the original recording.
No new melody or elements must be added, e.g. extra instruments or vocals. That would make it a remix.
Then again: a little kick and a snare to mark things up never hurt nobody.
It's OK to fade, reverse, cut, loop and add delay/reverb/phase fx etc. to the mix.
It's OK to included any version available of the recording: extended, dub, a capella, instrumental, perc-apella, live etc. as long as it is the same artist.
The re-edit must work better than the original. Else it's pointless, Tess!

Feel free to submit your re-edit to the Soundcloud group at the top. If I like, I'll post it here.

Note: Any mp3s are for listening purpose only. If you DL, please delete afterwards and go buy the record.

Re-edits history

Re-edits (or later extended versions) are altered versions of an existing song with repeated and reordered arrangement.

The re-edit was born because pre-disco DJs like Francis Grasso and Walter Gibbons and music aficionado Tom Moulton saw the advantages of longer versions; dancing people are responding to specific instrumental parts of the song (often a drumbreak or breakdown) and they want to stay in the groove for longer than just the usual 3:20 the single could provide.

At first they mixed two identical records on the spot, but later they would use reel-to-reel and cassettes. Eventually, when the record companies saw the sales potential, the DJs took it from the booth to the studio. Since, the art of re-editing has been refined by people like Danny Krivit, Tom Moulton, Walter Gibbons, Yam Who?, Todd Terje Dimitri from Paris and Pilooski.

(Wiki about re-edits)

(Brewster & Frank Broughton: "Last Night A DJ Saved My Life - The history of the disc jockey", Headline 1999)