Lay a Little Lovin' on Me. Bubble Gum Music. My Where Does My Heart Beat Now - Various - Radio 1 Hits 3 (Cassette Loves Lovin'. Funny Funny. Dancin' On a Saturday Night. Sugar, Sugar. Ohio Express. The Cuff Links. I'm a Believer Neil Diamond. The Monkees. Crazy Elephant. The Fun and Games.
Tommy Roe. The Banana Splits. Bobby Sherman. The Flying Machine. Kasenetz-Katz Singing Orchestral Circus. The Salt Water Taffy. The Street People. Edison Lighthouse. That's probably about it. Unfortunatley, most of the best stuff is long out of print, available only on small JA or UK labels on LP, and all us collectors beat you to it.
Regards, Pandit From: pandit news. COM How could I forget? Pandit From: eznoh niceup. But I haven't heard many of the later ones Subject: Re: U. Producer: Bunny Lee. Recorded at various studios in Jamaica.
I find traditional roots dub of the '70s far more mind blowing. Has 14 cuts compared to the 12 on later CD pressingsdespite the erroneous 12 tracks listed on the back of the sleeve. Also, check out the recently published "Reggae: The Rough Guide. One full, page chapter dedicated to dub. Look at the B-sides of Jamaican 45s beginning with rock steady, and you'll notice many of them say "Version". This is "dub", a simple instrumental remix of the A-side that may also include a few scraps of the vocals.
The singers are "dubbed out", but in most Album) respects Album) version is identical to the A-side. Begun as a test for sound levels during the record-mastering process, version later became vogue.
The Jamaican public developed an avid taste for version, and the scat-singing sound-system deejays took to recording their master-of-ceremonies raps over the hit-backing rhythms. But King Tubby helped turn the simple version into a dazzling art form that became known as dub. In the hands of such a master, dub at it's best could be as complex and rich in musical interest as the original vocal.
Tubby would strip the track down to it's raw drum and bass and put it back together as something haunting and strange, using fragments of the vocal as an instrument, in complex interplay with the other instruments. He would build the tension with amplified cymbal shots and thundering drum crashes, using reverb, echo and phasing in ways that anticipated the experiments of contemporary dance music.
Geoff Parker Feb. I always recommend the samplers, that way you can choose what sounds interesting and branch out from there. EZ Noh, mike From: mart csa. If you like Steel Pulse you will definitely enjoy Aswad. They both sound very alike, especially in albums like Aswad live, Hulet, Try to avoid its most recent stuff and check first its old albums. Although that's a matter of opinion. There are many more and the list too long. I hope this helps! Long live reggae! From: fiddick condor.
Newsgroups: rec. I got my copy from a record fare a few years ago - for a paltry 3 pounds. From: rnelson alexandria. Here's a list of 10 albums that will give anyone a simple introduction to reggae music. Aswad - To the Top Mango or Simba 6. Steel Pulse - True Democracy Elektra 7. Alpha Blondy - Jerusalem Shan. Gregory Isaacs - Night Nurse Mango Judy Mowatt - Black Woman Shan.
This only scratches the surface, each one of these artists has many more killer titles all reggae lovers should own. From: dhoffman spot. Dave From: linden fanout. Compare him? Anything of Burning Spear up to the late 's. Niney's Observation Station. Gregory has real style, an impeccable voice and great tunes. Live reggae recording recommendations From: geofh meibm4.
Classic rockers A must have. Whichever version you end up with is a killer one. Check out the 11? The must have recommendation is a given for all of these selections. Peter Tosh "Captured Live" on???
Relatively easy to find. Anyone seen this on disc? It's definitely worth it. From: bbe acad. No theme has been rearranged more than the classic crooner's tune "Fly Me To The Moon" itself a heavily rearranged version of an old waltzwhich was the ending for Neon Genesis Evangelion. There's about 15 to 20 versions used for the show's ending, and that's for a episode TV series. It was originally written by Bart Howard in The original Japanese version of Sailor Moon got a new version of its theme song "Moonlight Densetsu" for its third season.
The dub of Yu-Gi-Oh! The first season theme was really just the first minute of the full theme song. The second season theme was a different piece of music from later in the same song. It bounced back after that. Interestingly this doesn't match up with the Japanese version, which uses an original song instead of an arrangement of "Mezase". Additionally, the English versions of the first four theme songs were remixed in the beginning of the first four movies, while the fifth movie simply had an extended version of the anime's fifth theme song.
Several songs from the games receive remixes in the anime. Mezase Pokemon Master was remixed again for the 20th anniversary moviewhile the dub used another remix of the first opening. The Negima! Magister Negi Magi series are notorious for this, as with a class of 31, one song can be remixed several times. The opening themes of both anime, plus the ending theme of the second, have gone through this. While not quite as numerous as other examples, Strike Witches used this as well.
The girls, in different duets, took turns covering the ending theme, with the final episode having all of them singing at once. The Italian edition of Urusei Yatsura Lamu' replaces the original slow opening song with a fast, catchy pop song.
It's most Album) because no one knows who wrote it, who performs it, nor is there apparently a complete version anywhere - it's frustrating, because it's such a catchy piece and so very appropriate for the series, too. The first opening song for Sgt. Frog was remixed with the lyrics altered and new singers and was used as the sixth opening. The tenth opening uses a version of the first theme sung by the members of the platoonthough it had been in existence prior.
The second and third movies also used remixed versions of the opening theme. Tomokane's and Noda's are upbeat, whereas Kisaragi and Professor's versions are a little more relaxed. The second half of Welcome to the N.
Pretty Cure : Fresh Pretty Cure! Pretty Cure 5and Yes! Amusingly, Fresh, which had dancing as a major focus of the series, was the series that broke this trend. Futari Wa Pretty Cure ver.
Maho Girls Pretty Cure! In the Digimon dub, compare the theme for the seasons based on Digimon Adventure and Digimon Adventure 02 and the theme for the Digimon Tamers season.
Essentially the same, but the former is kind of techno and the latter uses more rock guitar instead. In the Japanese version, Digimon Adventure tri. YMMV on whether it's for better or worse, though. Bottle Fairy has five variations of its ending theme, each sung by a different fairy about a different season, the final one being sung by the four of them together about the fuzzy feelings felt throughout the year.
By this point, it's nigh-impossible to count how many versions of the Lupin III theme there are. Di Gi Charat Nyo! The second season of Higurashi: When They Cry does this an interesting way. It plays the tune of the first season; backwardswith enough variation to be an actual tune. So far, the ending theme of Sasami-san Ganbaranai has had a new version for each episode. The One Piece anime has two openings covering the first opening theme, "We Are". The seventh opening keeps the same instrumentation but is sung by the Straw Hat pirateswhile the tenth opening is a pop cover by South Korean band TVXQ.
A jazz version of the theme to Spider-Man plays over the closing credits to the Spider-Man movie. The movies also feature an extra singing the theme at some point. Spider-Man: Homecoming : a symphonic version of the '66 theme plays over the Marvel Studios logo. Rap versions of the theme to The Addams Family are played over the closing credits of both movies. Disney Animated Canon : Disney movies simultaneously release the version one hears in the soundtrack, plus a version recorded by a popular recording artist arranged specifically for radio play with the intention of getting a hit single.
The Mission: Impossible movies featured at least one remixed version of the old theme, which was actually quite snappy. The reboot featured another rearrangement by Fall Out Boy. The James Bond movies have rearranged the iconic theme music many times over. It sounds particularly good on electric guitar. Hedwig's Theme from the Harry Potter films has been tweaked, rearranged, and reworked in an effort to keep it fresh and slightly unpredictable. The theme is made slightly more discordant in each progressing film to match the increasingly dark subject matter.
Other themes have had this done, too. Doubles as Long Song, Short Scenesince roughly 40 seconds If we're being generous of the song is actually used in the film.
Recess: School's Out used a more epic, beefed-up version of the regular Recess theme. The usual creepy theme song uses a cello for its iconic harmony, giving the song an eerie and very sad feel to it. Fans, naturally, loved it. After two films featuring the original song, The Bourne Ultimatum ends with a new version of Moby's "Extreme Ways," produced specifically for the movie.
Another new version of the song was produced for the next film, The Bourne Legacy. Showa Rider: Kamen Rider Taisen feat. Super Sentai plays its ending credits to a modern remix of "Dragon Road", which was the main theme of the one-episode season, Kamen Rider ZXwhich this movie partially celebrates the 30th anniversary of.
The Portuguese dub of My Little Pony: Equestria Girls features a rearranged version of the main show's theme tune for the opening credits. In The Book of Lifea lot of pop hits are turned Mariachi-style or given a Mexican lilt to fit the environment of the movie. The CGI version of Speed Racer uses the same lyrics as the theme song for the original anime's English translation, but uses an entirely different tune.
Iron Man 3 : A jazz-rock version of the original Iron Man theme from the movies plays over the closing credits. This arrangement is called "Can You Dig It? Live-Action TV. What's interesting is that each rearrangement was made for the sake of pandering to a specific demographic.
Season 2, in an effort to appeal to a younger demographic, switched to a more upbeat disco rendition of the show's theme, with no less than four different arrangements. Season 3, in an effort to regain lost members of the first season's audience, used a single theme tune that was more similar to the first season's theme salbeit a little harsher.
Reading Rainbow rearranged its theme song during the show's 17th season in and again in The Bill has rearranged its theme music five times in its 26 years on the air. In however, the theme was changed completely, to a darker and edgier theme to fit with the show's retool, albeit with a small homage to the original theme.
At the end of the final episode, a new rearranged version of the original theme played, although similar in tone to the theme. The Cosby Show rearranged its theme music every season note Except in season seven, where the season six version was still used. It was a pretty standard mid's sitcom theme in its first season. But in later seasons it was rearranged as a peppy dance tune season twosalsa song season threea cappella performed by Bobby McFerrin season foura ballet season fivea Motown-styled dance tune seasons six and seven and in the final season, a hip hop song crossed with a homage to the old song "Shotgun.
Growing Pains always had the same theme song, but there were different versions of it. BJ Thomas was the main vocalist fromusing a solo version for the first year before being joined by Jennifer Warnes and later, Dusty Springfield; the music itself was reworked a couple of times. During the sixth season and in the Grand Finalean a capella version was used. Doctor Who has rearranged its theme several times: three times in the '80s to "modernize" it with the first '80s version being the only one besides the original Delia Derbyshire version to be made in the BBC Radiophonic Workshopagain in the TV movie, then four times with the new series.
There was also an attempt to completely rearrange the theme tune in the early 70s, by Paddy Kingsland of the Radiophonic Workshop, assisted by Brian Hodgson and Delia Derbyshire both from there as wellon the Workshop's new EMS Synthi modular synthesizer nicknamed the "Delaware"stated by Hodgson to be done "just to see if we could do it". They did it It was never used in the programme except in copies of some Season 10 episodes accidentally sent to Australia, which still had the Delaware version instead of the Delia Derbyshire version that was dubbed back into all other copies.
The original Radiophonic Workshop version of the Doctor Who theme underwent a few rearrangements in the 60s and 70s. Arranger Delia Derbyshire added "electronic spangles" and an echo effect for the Patrick Troughton incarnation, and then in the 70s she added the electronic "scream" preceding the closing titles and introduced the sound effect at the end to the televised theme for the first time it was in the full version of the original theme.
Series of the new series use orchestral arrangements of the theme played over the top of the Delia Derbyshire version, while series 4 rearranges some of the orchestral elements and adds guitars and drums, giving it a rock and roll theme. Series and part 1 of 7 is more electronic uses a bassline reminiscent of the 80s versions and is rather funky accompanied by a new grand and haunting orchestral melody, a constant synthesized, drum machine-like rhythm, and even a chorus. Series 7 Part 2 slightly modifies the timbre of the bassline and the electronic lead, has a different drum pattern, with real drums this time, and removes some of the orchestral elements from the previous theme to give it a slightly more minimalistic feel.
In Series 3 of the new series, "Martha's Theme" sounds almost like a reworking of "The Doctor Forever," the 10th Doctor's leitmotif from that series or vice-versa, given their introduction around the same time. The film Superman 's theme music is a inversion. The actual tune is rarely the same twice, but it is all arranged similarly, to a bright, swelling, heroic theme with a lot of brass. Three different composers, but the listener will hear the song and think "Superman". A few creators have found that, if you were to set lyrics to the various Superman themes to the tune of the main melody, there would be a spot where "Superman" fits perfectly.
Kamen Rider Den-O remixed its battle theme, "Double-Action", into several versions fueled by the unexpected popularity of the Taros', each with a different musical style. The show's opening theme, "Climax Jump", has gone through a similar treatment, with a quartet version sung by the Taros as well as individual versions made for the third movie, and two new versions, "The Final" for the third movie, and "Ch?
Climax Jump" from the fourth movie, which is also an ensemble song. Following the example of Den-Oits successor Kamen Rider Kiva had three mixes of The Rival 's theme "Individual-System" the standard version sung by the star, and two remixes, "Fight for Justice" and "Don't Lose Yourself", sung by the rival to reflect his changing attitude over the series. About a year after the show ended, a reunion album was released, which included more remixes, such as the main character and his father swapping their respective theme tunes.
This resulted in two more versions of "Climax Jump". And then along comes the fifth Den-O movie, split into three separate movies, each with its own song. Perhaps taking a cue from Den-OEngine Sentai Go-onger 's ending theme comes in several cover versions as well. Years later, Saban's reclaiming of the franchise led them to resurrect the theme and use an updated version for Power Rangers Samurai and Megaforce with minor differences between the twowhich was then remixed again for Power Rangers Dino Charge with lines added to the chorus and entirely new verses.
Recently, Ron Wasserman, the man who helped create many of the MMPR songs, went back and made new mixes of them and released them under the title "Power Rangers Redux". Mystery Science Theater had its theme song lyrics changed several times throughout its run to reflect on changes within the show such as the switch from Joel to Mike.
There are currently 7 variations of the song - the KTMA version, the season version with season 2's visuals changing to replace Larry with Frankthe season 5. Also a slower-tempo instrumental version of the theme plays during the closing credits.
The Netflix revival not only remixed the theme again, but also remixed various classic songs from the first 10 years. MTV 's Unplugged series is pretty much devoted to this trope. Each episode of The Prisoner Where Does My Heart Beat Now - Various - Radio 1 Hits 3 (Cassette a slightly different mix of its opening theme tune. The final season of Blake's 7 used a faster and jollier muzak-like version of the theme for its end credits only, without changing the opening credit version.
This created a rather odd effect after some of the grimmer episodes of the show, especially the last one. Incoming producer Vere Lorrimer wanted lyrics over the end credits. They were going to be sung by Steven Pacey Tarrant. Thankfully we were spared that. There's a distant star in a distant sky. With the introduction of stereophonic recording in the late s, many country and pop music performers began re-recording many of their early hits, especially those that were popular in the s through early s timeframe.
Notable examples include: Ernest Tubb's "Walking the Floor Over You"; for years, his stereo version, recorded in Januarywas preferred by music directors to the original. The stereo version, a Nashville Sound-esque arrangement recorded inwould for many years take the place of the honky-tonk styled original.
Patsy Cline's breakthrough hit "Walkin' After Midnight". Inshortly after she hit with "I Fall to Pieces," Cline recorded a new stereo version, which was noticeably more uptempo and had a big-band "pop" arrangement, featuring backing vocals and a pronounced "clip clop" percussion effect. Many music and program directors soon preferred the new version.
These Owen Bradley-produced versions soon replaced the original non-stereo versions in many record libraries. Sonny James has done this several times as well, most notably with: His hit "Young Love".
At least three re-recordings were made between andand it was often the version, recorded in a lower key than the original hit version, that was preferred by music programmers for a time.
Inwhen he announced he was in the midst of leaving Capitol Records for the CBS family of labels, he recorded a new version of the flip side of "Young Love", called "You're the Reason I'm In Love", this time in a brighter, horn-heavy arrangement.
When it came time to release the song in the spring ofJames even gave the song a new name to go along with the new arrangement: "That's Why I Love You Like I Do". The original "You're the Reason Webb Pierce recorded most of his early s hits in late and earlymost notably a Nashville Sound-esque "There Stands the Glass". That was his second go-round with some of his hits; inhe re-recorded his biggest hit, "In the Jailhouse Now," for a new album called Webb With a Beatand this rockabilly version in stereo, natch soon replaced the original honky-tonk version that was for years one of just three songs to top the country chart for 21 weeks.
Incidentally, Pierce's hit version was at least the second time he re-recorded the song; the original failed to become a hit, while his second recording, recorded less than two months before the hit version, was never issued as a single. Hank Thompson: Among his several re-recordings of his "The Wild Side of Life" was the stereo version, done in the Nashville Sound-arrangement with backing vocals, that was preferred for many years by music directors.
For a time, the new stereo version was the most popular before reverting back to the original bar blues version.
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