This is the last Mashstix Alternative Show. I like to personally thank G3RST for the amazing job he's done with the show (don't worry he's not leaving the team)
There is some good news with the bad however, as The Radio Stix Show will be back in full swing with a whole new crew... keep your eyes peeled! - Paul Stix
A sooper smoove mashup which utilizes the swinging groove of the late great Nina Simone's signature tune, to breathe much needed life into one of Stevie Wonder's later Grammy award winners. If you can't tap your toes to this music you're no doubt suffering from a deilitating condition, in which case you'll involuntarily move whatever you can. Production and execution from Amoraboy are flawless, as is evident in the fact that a lot of work has gone into this, but there is no way to tell.
Cons:
It's a 99% good fit, but there are moments in the chorus (e.g. at about the 1:00 mark) when the music lags just slightly before it changes up to follow the vocals. It's not much though, and it kind of passes for a "jazzy" type of vibe.
Tips:
It's hard to say whether any editing of the music could have even fixed such a tiny, tiny issue as I mentioned above. But in a broader sense (and since I'm entreated to post the occasional tip in this section), aspiring bootleggers should note that sometimes editing the instrumental is just as important as re-arranging the vocals when it comes to making the best mix.
There's very little likelihood you'll hear Genesis spun in many clubs that aren't prefixed by "Working Mens'" but with mashups like this around that could be set to change. "I Can't Dance" slots into this David Guetta track very nicely, and there's just the right amount of reverb to gel everything together.
Cons:
I'm pretty sure that making Phil Collins contemporary, cool or likeable is against the law. If I had to find fault, the ending is rather abrupt but I suspect the blame for that can be laid at Guetta's feet, not yours.
Tips:
Between this and a few recent mashups from DJ Clive$ter I've been forced to admit to liking some tracks with Phil Collins on them. If you can manage the same feat with Dire Straits then I'll have eaten every hat I own.
In a departure from his eclectic (and often timelessly brilliant) pop vs. pop juxtapositions, Amoraboy shifts Madonna's much-mashed "Frozen" into the up-tempo context of Trance, providing it with a new lease on life on the dancefloor. A willingness to leave (albeit successful) routine and explore new territory always deserves commendation and I could well imagine hearing this in a late-night Trance set at a dodgy club. It has the potential to be intriguingly haunting.
Cons:
Though it's far from a failure, this experiment yields mixed results. The vocal processing (and/or lack thereof) ends up burying Madge's vox in the mix. And while the trance genre is known for unchanging bass ostinati, the absence of chord changes to support key moments, e.g. at 1:10 and 1:24 ("frozen" and "broken"), is obvious, esp. with such an ubiquitious vocal. Finally, I don't really feel this mash has a proper climax and release - it peters out just when one might expect an explosion, which (again) is partly due to the subdued vocals.
Tips:
A bit of EQing (more upper-mid, less bass), less reverb, some mild distortion, and better stereo placement could lift Madonna's vocals to their proper place (i.e. get them on a par with the cheesy "dreams" sample in the Quench track). Also, you could have re-arranged the instrumental to better support the vox with the chord changes above the steady bass and add climax/release to the song structure. Again, I applaud your willingness to experiment, but new approaches require new methods (and often more work).
This new mashup by Amoraboy really works, it's a nice combination of two beautiful ballads! The commodores vocal is just running along the MJ instrumental without a single keywise clash. I especially like the parts where you combine both vocals, this way the tracks are even better connected. And as Paul Stix already stated in the forum, we're glad it ain't another MJ pella topped on a instrumental. Props!
Cons:
In the beginning of the mash the commodores vocal tempts to be a bit off beat or somehow "running away" from the instrumental.But i think that is nearly impossible to correct since the pella itself is kind of "loose"
Tips:
R.I.P. MJ :)
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