Philadelphia International: The Re-Edits [Collector's Edition]

First of all a HUGE thank you to the wonderful Ian Dewhirst for giving us another fine compilation of Philly crackers.Although there are a couple of people knocking this,clearly the point is being lost on them.To me the album absolutely delivers on it's main goal and that is to get this wonderful music across to a younger audience and by giving these tracks to a younger set of "remixers" the project works fantastically well. Although old enough to remember buying all the wonderful Philly tunes,since '72, I'm still dj ing and playing loads of current dance and RnB tunes therefore can totally appreciate what the guys were trying to achieve. I just think it's great to hear all the songs with a different slant on them. Listen, we all know the originals will never be bettered, but it's another fantastic comp for the collection. Add to that we could have Philly Soul back in the charts again fills me with Joy!!! Well done to everyone involved in the project.

Re-editing only allows for you to work with what is in the original stereo mixes you are working from, but that is no reason to add gimmicks and "obvious" edits to classic music like this!

This compilation is obviously an attempt to seduce the ears of younger (20 something) dj's and listeners, and that is why these re-edited versions are putrid.

I have to ask myself if Ian Dewhirst actually respects and appreciates this music, or is he just trying to "cash" in on a market that mainly consists of clueless and unseasoned musical ears. I will have to ponder this.....

The only tasteful (read: "Musical") re-edits you'll find here are from JSKI. He seems to have more of a deep respect for this music, and those are the only tracks I will keep in my ipod from this blasphemous compilation.

On a positive note, I just picked up the 4-cd boxed set "Philadelphia International Classics", The Tom Moulton remixes, and i'm in absolute heaven! THIS is how you treat classic music..with respect, taste, and musicality--Thanks TOM!!

January 20, 2012 by dereksmusicblog

PHILADELPHIA INTERNATIONAL: THE RE-EDITS.

Sometimes, once you've heard that a new album will be due out soon, then you can't wait to get your hands on to review. That's how I felt about Harmless' latest compilation, Philadelphia International: The Re-Edits, which I've waited to hear for a number of weeks. This is just the latest compilation that will be released during 2012, which is the fortieth anniversary of Philadelphia International Records. As if this latest compilation isn't enough, then fans of the Philly Sound will soon be able to enjoy a four disc box set entitled Philadelphia International Classics: The Tom Moulton Remixes which is due for release in February 2012 on Harmless. Now if that isn't enough to whet your appetite, then how a ten, yes ten disc box set which will be released later in 2012. However, getting back to the Philadelphia International: The Re-Edits compilation, this is an interesting concept which I'll now tell you about.

Now, most similar albums of re-edits or remixes see many of the same familiar names used to either re-edit or remix classic tracks like this. Not here though. Instead, what we have is a number of re-edits from DJs who've been fans of the music, and maybe aren't the highest profile DJs. This is quite refreshing, as on many albums, the usual suspects are dragged out to give their "take" on a track. So what we have here, are twenty-one re-edits from DJs who maybe wouldn't usually find their music on such an esteemed compilation. To me, this is part of the attraction to the compilation, hearing fresh takes on the music by fans of the music. These DJs come from not quite the four corners of the globe, but pretty close. There are DJs from San Francisco to Sunderland, Brooklyn, Brescia and Bristol, not forgetting Glasgow, Chicago and New York. Truly, it's a cosmopolitan mix of DJs who contribute to the album. However, four other people who made this compilation possible, are compilers Ian Dewhirst and Jay Negron, as well as Gamble and Huff who brought us this majestic music.

Now before I tell you about the music however, I'll explain the idea behind a re-edit, and how this differs from a remix. This should allow you an insight into how the various DJs on this compilation came up with the various re-edits. With the re-edits on this compilation, none of the DJs had access to the master tapes or any of the raw parts of the song. This is always the case with re-edits. What happens is that the DJ takes the song, and basically takes pieces out of the track, maybe adds drum beats, sometimes a keyboard line and often a number of effects. Quite often, the DJ will look to extend parts of a song, make it longer, more suitable for the dance-floor. Often, this will mean adding additional drum beats, extending the introduction and extending the best bits of the track. This can build up the dramatic effect of a track and turn it into something much more dynamic and energetic. However, who does the DJ manage to do this? Well there are a number of software editing packages available, with prices suiting every budget. You can get packages that are free, up to packages that run into hundreds of pounds. Although the best packages are quite expensive, if you want to try making your own re-edit, then a free or cheap package will allow you to try this. It's possible to make your own re-edit using just a basic laptop or desktop and some free or cheap software. Many DJs do re-edits to put into their DJ sets, and this allows them something unique, that may become one of their signature tracks. Having told you about re-edits, what is a remix?

A remix is totally different as the remixer has access to the original master tapes, or nowadays, the computer files. This means the track is divided into different parts, for example, the drums, bass, guitars and vocals. The remixer can choose to use all, some or even just a few. Then, various loops can be added and new parts old replacing parts of the track. Sometimes, this is just a few things added and changed, and sometimes, the track is rebuilt totally. It depends on what the remixer is trying to do.

Usually, the master tapes are played through a mixing desk, and the various sound levels are adjusted, maybe boosting the bass, loosing some high end. Then the remixer starts to add and remove parts of the track. Often, they'll extend some parts, maybe adding some drumbeats, add effects, maybe filters and panning, ideal for the dance-floor. Often, these remixes are trying to make a track fit a dance-floor, that originally, were never conceived as a dance track. Some remixers like Masters At Work have worked with a number of artists whose music wouldn't usually be considered dance music. Nowadays, the remix is an important tool for many artists in adding to their "crossover" appeal, and is a lucrative sideline for DJs who are also remixer. Now that I've explained the difference between re-edits and remixes, we get to the important part, the music. Just what does, Philadelphia International: The Re-Edits sound like? That's what I'll now tell you, highlighting some of the compilations best tracks.

Philadelphia International: The Re-Edits has two discs, separated into two themes. Disc One is entitled Uptempo Good Time Philly, while the second disc is Mellow Slinky Philly. Now, the compilers have decided sensibly, to open Disc One with a bang. To do this, they've chosen one of my favorite re-edits from the whole compilation, Morning Star's 2004 re-edit of Harold Melvin and The Blue Notes Satisfaction Guaranteed (Or Take Your Loving Back). Originally from Harold Melvin and The Blue Notes' platinum certified 1973 album Black and Blue, which reached number one in the US R&B Charts and number nine in the US Billboard 200. When released as a single in 1974, it reached number fifty-eight in the US Billboard 100 and number six in the US R&B Charts. It's a much longer track than the original, which only lasts three and a half minutes. Here, the track is extended to seven and a half magical and energetic minutes. From the moment the track opens, the re-edit is just full of energy, building and a building and never running out of steam, The principle is take the best bits and extended them. It seems Morning Star have decided that you can't get enough of a good thing, which in the case of Harold Melvin and The Blue Notes and Gamble and Huff, is certainly the case. The result is a dynamic track, laden with energy that's perfect for any dance-floor.

The only Billy Paul track on Disc One, is Only the Strong Survive, the title track from his 1977 album Only the Strong Survive. This is a very different re-edit, with Jay Negron in his guise as J'Ski providing this track. Unlike the opening track, the track takes a while to unfold, with J'Ski almost teasing the listener, as he seeks to build up the track's drama. He succeeds in achieving this, and uses filters effectively. They're used sparingly, whereas sometimes, they can be overused. Even the saxophone solo which in the original is later earlier in the original track is extended and is one of the highlights of the track. Its sultry sound just goes on and on, the dramatically, seems to last forever. This is a very welcome addition, and what I also like about the track is the way the vocal has been rearranged. In the original it's a track that slowly builds and builds. Here, parts of the vocal are used as a breakdown, and then used to rebuild the track's drama. Like Harold Melvin and The Blue Notes' track, it's a track that would sound great on any dance-floor, and would be a new and novel way to introduce a new generation of music lovers to Billy Paul's music.

A Jean Carn track that I've always enjoyed is Free Love, and it's a welcome addition to Philadelphia International: The Re-Edits. This was from Jean's eponymous album Jean Carn, released in 1976. Free Love was released as a single, reaching number twenty-three in the US R&B Charts. Here, Victor Rosado takes a track that was originally lasted four minutes and transforms it into a seven minute epic, subtly taking the best parts of the track extending them, and carefully using filters. With plenty of lush swirling strings augmented by crisp beats, a great bass line and of course Jean's sassy vocal sassy vocal sitting atop the arrangement, that even features rocky guitars it's an excellent re-edit of a classic Philly dance track.

Although The Trammps were formed in 1972, the genesis for the group was back in the sixties and a group called The Volcanoes. Their most successful period was when Earl Young and Norman Harris of M.F.S.B. joined the group. The Trammps contribution to Philadelphia International: The Re-Edits is Save A Place, again re-edited by J'Ski. His re-edit has the same qualities as his Billy Paul re-edit, turning the track into a six and a half minutes Magnus Opus. This track is from The Trammps 1975 album Trammps. Here, the track has a lengthy string laden introduction, which is full of energy, even before the vocal enters. Once it enters, the track gets even better, with the anticipation matching the delivery. You just can't fail to be drawn into this track, which is hugely catchy and hook laden. J'Ski uses filters again, but does so with subtlety. What makes this such a great track, is that the original track features some really talented musicians, with Earl Young's drumming and Norman Harris' guitar playing stunning. Thankfully, J'Ski is able to pay homage to their genius with an excellent re-edit, one of the compilation's highlights.

One track that I've always loved and was really pleased to see on Philadelphia International: The Re-Edits, was McFadden and Whitehead's Ain't No Stopping Us Now. Now previously, I've heard a number of versions of the track over the years, but this is quite different. Read more ›