Here’s my audio and visual reinterpretation of Erasure’s “why can’t we all just get along” opus. For this clip I have mangled the song’s original rather excellent video, with hopes that my liberties will be excused by those involved.
The remix was done almost exactly 30 years ago at the dawn of 1987, around the same time as Daniel Miller’s legendary lost Laibach mix, which would account for the presence of his EMS Vocoder 2000 in the studio.
The edit of this mix is unusual in that there is no edit at all for the first couple of minutes. Having looped a few bars of backing vocal over the rhythm section I enjoyed the resulting chord inversions so much I just let it run, even though the results were a tad dissonant for an Erasure track. In fact I got a phone call from Flood after delivering the mix, to warn me that this one “might not fly”, as he could imagine Vince Clarke gagging somewhat on the jazzy chord shapes. But it did fly, Vince didn’t gag…and here it is, pop pickers!
A couple of remixes didn’t make it to the earlier part of this blog because, unaccountably, nobody had posted them on YouTube. I now intend to rectify that by posting them myself, starting with this mighty effort from 1990 which I did with Psychic TV refugee John Gosling, aka DJ Sugar J.
Bassomatic were a kind of R ‘n B version of Torch Song, with soul diva Sharon Musgrave on vocals, on the first album anyway. They had a big hit with Fascinating Rhythm and this was the follow-up.
This clip was cobbled together from another video for another song, so it doesn’t exactly sync up, although sometimes it does. John Gosling (really nice guy for an Arsenal fan) makes a brief appearance somewhere in the middle.
Tarsem was based in London, so we started commuting over there to work on his spots. We found some interesting temporary locations to do our programming. If I remember rightly, we did this one in the back room of a puppet factory in Covent Garden.
This typically spectacular spot takes on that age-old question: what maketh a man? Let’s tick the boxes. Power…check. Bulging pocketbook…check. Audi 100…check. Soul…well if you have the Audi, and you know your Fellini, that would be a double check.
Yep…il aura la femme.
Another sound design assignment for Tarsem. When they ask for explosions, that’s easy. But when everything needs to be quiet, it’s much more of a challenge. In this spot the car is the quietest thing, while the minuscule sounds of the desert are a cacophony.