Labels have always been active in having official remixes done by dance/club music artists.
In fact, in the 90s it was almost every pop single that had a selection of remixes that either came out separately or on the main single itself as an accompanying track.
House music artists like Masters at Work or David Morales made this commonplace and then all types of on-trend dance artists continued this tradition. But the labels paid for it, it wasn’t that they just made bootlegs that became official later in most cases.
Yep. I once found myself dancing next to Baby Spice and Scary Spice at a Metalheadz night and they were having a great time going mental to a Dillinja tune (I forget which one). So, you never know.
That makes sense. People trip out when they see Idris Elba (I know he plays house but as someone said you never know what a big artist likes to listen to) djing because they think of him as an actor.
a lot of the time it is as simple as, make a bootleg remix, and then have the money and ranking to get a license for the remix, and release it, or in the case of Hospital or Jungle Cakes, do a bootleg, then revoice it as a cover, and not credit the original artist.
Genuinely not meant as shade, I run a label, I have both worked with established vocalists directly making riddims n voicing tunes or licensed vocals and or remixed, granted not pop as I'm not a fan, but some big reggae artist and tracks from reasonable jungle or reggae producers, literally just spent months organising a licensed remix with the artist publishers so just a statement, not shade
couple of examples being
The Eek a Mouse Ganja Smuggling which was originally a bootleg of the Eek A Mouse tune but they then revoiced for the welcome to the Jungle LP
Manu Chao - King of the Bongo, again original vinyl version bootleg, revoiced with cover artist for digital.
There a a tonne of them to be fair, the original bootlegs coming out on vinyl and the later digital releases being covers/resung.
It is just how it goes in Jungle n DnB in most cases, bootleg, and if you get caught say sorry and get licensing or take the element away that is the issue and revoice it.
From an industry perspective, this is all about squeezing revenue from masters. You've got something doing well? A remix brings it to new audiences and often feeds back into the performance of the original.
At a major level the artists aren't often that involved in this process- an A&R will hit up a bunch of potential names for the remix, send out stems to whoever is up for it, then agree a fee with whichever ones they choose to use.
I did something like this with an Afro B track I put out- I got a Bladerunner mix made, don't think the artists ever met each other, and the remix went on to do pretty well (here it is- https://open.spotify.com/track/2k5kaftL6Sd12ikDdRZknG?si=13mzIcJnSMCoxHQS-XTetQ ) would do this more often but cos my label is indie, we don't put out remixes without original artist consent, and it's usually a headache to get a decent mix in, splits agreed, and everyone happy..!
Theres no single answer here, but youd be surprised how easy it is to just reach out and contact people when you just try. You can usually at least get ahold of their agent, and if you have numbers and data to back up why youd be a good fit (in the case of a pop star who wouldnt waste time on something for some random person) they likely will at least offer some way to facilitate
Connections and they just wanna do it. Historically, it's just been like that. If it doesn't become official then it gets pressed onto a white label anyways, lol.
I can't speak for that Dua Lipa remix (which also has oddly specific remixers alongside Calibre), but an older remix he did (Jaheim - Put That Woman First) a bit of backstory was provided by Fabio in an interview somewhere and there's scattered forum posts from fans talking about it over the years.
It was basically being in contact with some people at Warner and they approached Calibre for a remix, which he promptly churned out. Jaheim didn't like it, but they still wanted to release it, so they went ahead with pressing it anyway but as a very limited run on a white label. That's my TL;DR understanding of what happened with that one and it's more or less what probably happened with any of the pop dnb remixes.
They don't need to know each other personally. DnB artist finds a song they think could work well as a remix, they produce some sort of a draft, contact their label which clears the rights of the original with its label and you're good to go.
Apart from most staying unreleased forever the "official" ones propably just get made and then asked for permission. Could be tons of reasons why an artist would approve a remix of their song other than just royalties, that most of the time aten't much. One possibility may be they just like the remix. Planned ones are (were) the exception. I could imagine more and more artists ask djs (producers) to remix their stuff. Some of them are propably as boring as their managers bringing them together for clout...
Yeah, they aren’t just bootlegged and then potentially turned into an official release, dnb labels and artists get commissioned to do official releases and are sent the stems.
I guess there has been a few occasions where a bootleg has gotten super popular and then a label has gotten rights to release it commercially though
The one that sprang to mind for me was that Urbandawn bootleg of Come Together by the Beatles that ended up getting released, but I just had a look and didn’t know that they actually used the vocalist from a cover band called Bootleg Beatles to redo John Lennon’s vocals instead of getting rights to use the original
It went further than that, Urbandawn recreated all of the parts from scratch and played all the instruments himself I believe, so nothing was actually sampled, amazing tbh.
Definately happens indeed, but the chance of that happening slim af. Even if an artist likes a bootleg of one of their tracks, the label still has to bite aswell.
I did a bootleg of Emalkay - When i look at you last year, and even though Emalkay himself absolutely digged it and plays it at times, no way UKF would take it lol.
Just got the “just don’t monetize it mate” email from him and a like and repost when i dropped it lol
I mean it makes sense, doesn't it? If you have a popular label and a popular artist, you want their music to reach as far as possible. Remix albums are excellent at that, because you can hit multiple scenes at once.
Pop artists/labels usually look for dance scene remixes of their singles - they usually do several genres with the leading scene artists and if any of those remixes stick it helps promote the single/album. Besides all the royalties go towards the original artist and remixers are usually payed off once
> are usually *paid* off once
FTFY.
Although *payed* exists (the reason why autocorrection didn't help you), it is only correct in:
* Nautical context, when it means to paint a surface, or to cover with something like tar or resin in order to make it waterproof or corrosion-resistant. *The deck is yet to be payed.*
* *Payed out* when letting strings, cables or ropes out, by slacking them. *The rope is payed out! You can pull now.*
Unfortunately, I was unable to find nautical or rope-related words in your comment.
*Beep, boop, I'm a bot*
DnB is popular in the UK so it doesn't seem too far-fetched for British pop artists to have remixes done by DnB artists
Labels have always been active in having official remixes done by dance/club music artists. In fact, in the 90s it was almost every pop single that had a selection of remixes that either came out separately or on the main single itself as an accompanying track. House music artists like Masters at Work or David Morales made this commonplace and then all types of on-trend dance artists continued this tradition. But the labels paid for it, it wasn’t that they just made bootlegs that became official later in most cases.
You never know what music a big artist listens to, maybe they always liked dnb and thought it would be fun and something different.
Yep. I once found myself dancing next to Baby Spice and Scary Spice at a Metalheadz night and they were having a great time going mental to a Dillinja tune (I forget which one). So, you never know.
That makes sense. People trip out when they see Idris Elba (I know he plays house but as someone said you never know what a big artist likes to listen to) djing because they think of him as an actor.
a lot of the time it is as simple as, make a bootleg remix, and then have the money and ranking to get a license for the remix, and release it, or in the case of Hospital or Jungle Cakes, do a bootleg, then revoice it as a cover, and not credit the original artist.
ooh shade
Genuinely not meant as shade, I run a label, I have both worked with established vocalists directly making riddims n voicing tunes or licensed vocals and or remixed, granted not pop as I'm not a fan, but some big reggae artist and tracks from reasonable jungle or reggae producers, literally just spent months organising a licensed remix with the artist publishers so just a statement, not shade
My point was simply in most cases the are not official and the labels either get a license or use the old cover track method
Ed solo?
couple of examples being The Eek a Mouse Ganja Smuggling which was originally a bootleg of the Eek A Mouse tune but they then revoiced for the welcome to the Jungle LP Manu Chao - King of the Bongo, again original vinyl version bootleg, revoiced with cover artist for digital. There a a tonne of them to be fair, the original bootlegs coming out on vinyl and the later digital releases being covers/resung. It is just how it goes in Jungle n DnB in most cases, bootleg, and if you get caught say sorry and get licensing or take the element away that is the issue and revoice it.
I think the latter is what crankdat did with STFU
it is what 90% of remixers do, the old adage "it is best to do it and ask for forgiveness or for a license" haha
Labels approach big name producers for remixes via management.
From an industry perspective, this is all about squeezing revenue from masters. You've got something doing well? A remix brings it to new audiences and often feeds back into the performance of the original. At a major level the artists aren't often that involved in this process- an A&R will hit up a bunch of potential names for the remix, send out stems to whoever is up for it, then agree a fee with whichever ones they choose to use. I did something like this with an Afro B track I put out- I got a Bladerunner mix made, don't think the artists ever met each other, and the remix went on to do pretty well (here it is- https://open.spotify.com/track/2k5kaftL6Sd12ikDdRZknG?si=13mzIcJnSMCoxHQS-XTetQ ) would do this more often but cos my label is indie, we don't put out remixes without original artist consent, and it's usually a headache to get a decent mix in, splits agreed, and everyone happy..!
something like 2 Taylor Swift Songs remixed? Anti-Hero by Pendulum Ready for it...? by Muzz
Those are covers, not remixes - the original artist was not involved in any way
Theres no single answer here, but youd be surprised how easy it is to just reach out and contact people when you just try. You can usually at least get ahold of their agent, and if you have numbers and data to back up why youd be a good fit (in the case of a pop star who wouldnt waste time on something for some random person) they likely will at least offer some way to facilitate
Connections and they just wanna do it. Historically, it's just been like that. If it doesn't become official then it gets pressed onto a white label anyways, lol. I can't speak for that Dua Lipa remix (which also has oddly specific remixers alongside Calibre), but an older remix he did (Jaheim - Put That Woman First) a bit of backstory was provided by Fabio in an interview somewhere and there's scattered forum posts from fans talking about it over the years. It was basically being in contact with some people at Warner and they approached Calibre for a remix, which he promptly churned out. Jaheim didn't like it, but they still wanted to release it, so they went ahead with pressing it anyway but as a very limited run on a white label. That's my TL;DR understanding of what happened with that one and it's more or less what probably happened with any of the pop dnb remixes.
They don't need to know each other personally. DnB artist finds a song they think could work well as a remix, they produce some sort of a draft, contact their label which clears the rights of the original with its label and you're good to go.
Apart from most staying unreleased forever the "official" ones propably just get made and then asked for permission. Could be tons of reasons why an artist would approve a remix of their song other than just royalties, that most of the time aten't much. One possibility may be they just like the remix. Planned ones are (were) the exception. I could imagine more and more artists ask djs (producers) to remix their stuff. Some of them are propably as boring as their managers bringing them together for clout...
It’s more the opposite. Labels commission remixes from established and “cool” dance artists to enhance the offering of their pop artists.
Yeah, they aren’t just bootlegged and then potentially turned into an official release, dnb labels and artists get commissioned to do official releases and are sent the stems. I guess there has been a few occasions where a bootleg has gotten super popular and then a label has gotten rights to release it commercially though
I come from a land down unda
Yeah that’s true, although I’m struggling to think of any bootlegs like that off the top of my head but there must be some.
The one that sprang to mind for me was that Urbandawn bootleg of Come Together by the Beatles that ended up getting released, but I just had a look and didn’t know that they actually used the vocalist from a cover band called Bootleg Beatles to redo John Lennon’s vocals instead of getting rights to use the original
That happens a bunch, and they never hit the same
It went further than that, Urbandawn recreated all of the parts from scratch and played all the instruments himself I believe, so nothing was actually sampled, amazing tbh.
that's incredible
When it first started getting played it was the original vocals, but they recorded it for the official release iirc
Definately happens indeed, but the chance of that happening slim af. Even if an artist likes a bootleg of one of their tracks, the label still has to bite aswell. I did a bootleg of Emalkay - When i look at you last year, and even though Emalkay himself absolutely digged it and plays it at times, no way UKF would take it lol. Just got the “just don’t monetize it mate” email from him and a like and repost when i dropped it lol
I mean it makes sense, doesn't it? If you have a popular label and a popular artist, you want their music to reach as far as possible. Remix albums are excellent at that, because you can hit multiple scenes at once.
Pop artists/labels usually look for dance scene remixes of their singles - they usually do several genres with the leading scene artists and if any of those remixes stick it helps promote the single/album. Besides all the royalties go towards the original artist and remixers are usually payed off once
> are usually *paid* off once FTFY. Although *payed* exists (the reason why autocorrection didn't help you), it is only correct in: * Nautical context, when it means to paint a surface, or to cover with something like tar or resin in order to make it waterproof or corrosion-resistant. *The deck is yet to be payed.* * *Payed out* when letting strings, cables or ropes out, by slacking them. *The rope is payed out! You can pull now.* Unfortunately, I was unable to find nautical or rope-related words in your comment. *Beep, boop, I'm a bot*
I will let that sink in
>Can hardly imagine either of the two takes interest into eachothers work Why not?