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best-rap-remixes-of-all-time-2019 Throughout the decades, he has constantly delivered massive remixes and I could easily make a Top 10 list of just his tracks. Heavy programmed breaks with scratches and samples overtop like icing on a cake makes it one of the stand-out tracks of the '90s Big Beat era. Next they would add special effects like echo and reverb to highlight certain parts of the track and warp it into a sexy, tripped-out instrumental. Shouts to Semantik over at CrateKings. What is their purpose? All the other hooks — which came mostly from best rap remixes of all time 2019 M1, including the sax and string parts — were added by MK. As a culture, it is now about as corporate and lily-white as it gets.

So without further ado, the top Kelly- produced by The Trackmasters - pardon Nas' cheesy Casino -inspired video. This remix was a complete redux of the original song. Whereas the original was an up-tempo track, this one was more subdued, and allowed Nas to wax poetic over piano chords and big brass hits. Thinking man's rap at its finest. Shit it might have came out earlier, I can't remember. Still, an incredible track for L to let loose on. After "Vocab," The Fugees needed to come back with something strong, and Salaam Remi's remix did the track, giving the group their first bona fide hit, and a cementing a hip-hop classic.

Walt or Evil Dee, did this track Best Rap Remixes Of All Time 10 were able to flip Barry White's "Playing Your Game Baby" into a hard rock anthem that made even the nerdiest of nerds wanna rock a goose down and lace up a pair of timberlands.

When the Im Nin'Alu vocal samples come in, the song gets taken to a whole nother level. Dre- the original was all big horn loops and hard drums, where the remix was rolling bass lines and blurping synth sounds. It was like the original was made for the East Coast, and the remix for the West.

Either way, Best Rap Remixes Of All Time Lapse I remember the first time I heard this song, I said what the fuck is this?!? There was no snare drum. It was just that little rimshot from the Debarge sample.

It was light-sounding, not rough rugged and raw like everything that was out at the time. It was the total opposite of the original version. Looking back now as a remixer myself, this was way ahead of its time. Norman Cook stepped in and flipped the song in a way that paid homage to the original with the guitars and vocals, but that beat just took it to another level. And the word salad vocal bits after the intro are just insane.

Heavy programmed breaks with scratches and samples overtop like icing on a cake makes it one of the stand-out tracks of the '90s Big Beat era. I first heard it in a record store in NYC.

About two minutes in the kick comes and starts a nice slow build. Even on the reprise release that came out in , the vocals were never really a standout part of the track, but in this remix they take on a whole new life. Now it actually feels like a song. This is a case where a remixer worked in reverse — taking a record already made for the dancefloor and turning it into a track for the bedroom.

Sometimes you can take what is there and build around it. Many early remixes were just extended versions that brought elements from the original in-and-out without adding much new material. So what do you do to that?!? Coldcut doubled the length of the original and added a kitchen sink full of samples, including obscure spoken word bits, James Brown count-offs, and, of course, the inspired Ofra Haza vocal.

The popularity of this song was largely due to this remix, which Rakim loved but Eric B hated. Regardless of how the artists felt, it became one of the first commercially successful remixes to ever go Top 20 in many countries. Those intro stabs are a glorious trip back to the '90s rave scene and all A-Trak had to do was sample the synth and cut it up with a hard attack.

In fact, if you took off the vocals this could easily have been released in and played at a rave. Other than the vocal, not much from the original made the cut in his remix, besides a wobbly synth line in the bridge.

The original had that New York indie rocktronica vibe but this remix could easily work on radio as well as the clubs. I first heard this played in a club in Pittsburgh by Digital Dave. It was one of the few times I trainspotted a DJ. In this case, it used the foundation of the original version and built it into something fresh but still recognizable.

Hybrid have a knack for taking elements from a track and turning them into something wonderful. First, they actually put movement and a beat into it. Then they brought musical elements to the front, liberally filtering things to add interest, and made the vocals seem like a main part instead of buried. They took a track that was destined for background music and turned it into something that would work on a dance floor or a club scene in a vampire movie.

Dave Angel took an iconic dance record and turned it into a version that, at first listen, sounds like theme music for a Halloween rave in a graveyard. Gone are the catchy synth hooks, replaced by spooky oboe lines and haunting church bells.

The breakbeats, the rolling bassline are fantastic on their own and I wish I had a version without the Eurythmics in it. From the first beat it just builds and builds until the first breakdown. This was always a record I could fill a dance floor with. It was different but it resonated with people around the world, going Top 10 in the UK, a feat even the original never came close to doing.

Even today, this record sounds fresh and every time I play it people run up to me asking what it is. Neither record was amazing but just the process itself is interesting.

Justice took elements from the original and ran them through distortion and compression until they were totally new elements, layered with that funky French bass and tons of crunchy drum sounds. They used only select vocals from the refrain and bridge. In the end, I doubt many people remember the Simian original but now no one can forget that vocal hook. This is one of those instances where the remix is a like an evolved Pokemon compared to the original.

Again, not all remixes take the record in a different direction. And he packaged it all with a nice mixable intro and outro. I can play this in a set today and it will work every time.

Music Review. Hip Hop. Indie Rock. Tech House. Chill Dance. Club Night. Event Coverage. Travel Camping. Home Music. But that is not what he meant. Get Magnetic Ad-Free for 30 Days. Join Today. By Jonathan Keith.

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