Adapt or Die-10 Years of Remixes
On Feb. 15, Sire/Atlantic/Blanco y Negro/Rhino will issue British duo Everything But The Girl's "Adapt or Die -- 10 Years of Remixes," a new collection that includes many new and previously unreleased restructurings.Highlights include rare re-rubs by Jazzy Jeff ("Mirrorball"), Kenny "Dope" Gonzalez ("Downhill Racer"), Jay "Sinister" Sealee ("Lullaby of Clubland") and King Britt ("Rollercoaster"). Also noteworthy are remixes by C.L. McSpadden ("Missing"), Brad Wood ("Single") and Kevin Yost ("Five Fathoms").
EBTG has not released a new studio album since 1999's "Temperamental." According to the group's official Web site, there are no plans on the books to record or tour in the near future. -- Michael Paoletta, N.Y.
Track Listing for new remix album, taken off Amazon.com
1. Mirrorball (Dj Jazzy Jeff Full Sole Remix)
2. Before Today (Adam F Remix)
3. Missing (Cl Mcspadden Unreleased Powerhouse Mix)
4. Corcovado (Knee Deep Remix/Ben Watt Vocal Re-Edit)
5. Rollercoaster (King Britt Scuba Mix)
6. Downhill Racer (Kenny Dope Remix)
7. Single (Brad Wood Memphis Remix)
8. Walking Wounded (Dave Wallace Remix)
9. Five Fathoms (Kevin Yost Un-Released Groove Mix/Ben Watt Edit)
10. Lullaby Of Clubland (Jay ‘Sinister’ Sealee Remix)
11. Temperamental (Pull Timewarp Remix)
12. Blame (Fabio Remix)
13. Wrong (Todd Terry Un-Released Freeze Mix)
14. Driving (Accoustic Mix) 除开2和4，其他都没有听过，汗ing 封套来了，似乎用了Bjork封套上的字体～
http://images-eu.amazon.com/images/P/B0006ZYQWM.02.LZZZZZZZ.jpg http://www.ebtg.com/media/holding.gif
来个有颜色的吧！ 在emule 他们的rmx都蛮少的 不外乎 missing ．．．
听了很多都不大喜欢～ 晕
只喜欢一手missing的chill-out版本 rmx的全称是什么？
与ebtg合作过的电音大腕很多，好像brian eno也有，jungle和dnb方面的特多，Todd Terry根本排不上位，不要听那首missing rmx<<< r_m_x <<< remix
Todd Terry在 ebtg－fans里出名是因为他混了wrong吧？
我说的missing的chill-out版本 不是他做的
brian eno混的我没听过呢！
还是相对喜欢ebtg的deep house方向的 是混missing时候出名，wrong我更喜欢soul vision vs lazy dog的tracey in my room版本 tracey in my room
这个我下不来 !!!
晕死!!!!!!!!!
最近我下到了master at work unreleased (vinyle)哦 里面有5 famtons(?)和driving 嗯，master at works帮ebtg混过不少，但我感觉一般，hehe 下了
比较喜欢他们大部分drum&bass类型的remix 你没听过是因为多数都是舞曲DJ 的REMIX啊，
都是腕。
赞，MISSING REMIX的非常棒 如果不算《Back To Mine》，ebtg已经6年没有新专辑，不过精选辑不少，今年则换一种方式精选——出了这张混音专辑，名字竟然叫《Adapt or Die》，真的不知道是两人自叹还是自傲，甚至可能是嘲讽也未可知。
-- by 墨墨 from lannychai.com indieman做咩吵我野？ 引你出洞嘛 Originally posted by Indieman at 2005-12-14 11:29:
引你出洞嘛
这样啊？
http://www.lannychai.com/images10/influencestw.jpg
Bargrooves Influences:Jay Hannan /L247
V.A.
Seamless/High Note Taiwan
High Note在台湾代理的厂牌，若不是打碟DJ或者夜店超级拥趸，一般乐迷的话怕也只熟悉XL这个厂牌了。墨墨向dangdang小姐要promo，一下子也只想到Prodigy和Basement Jaxx这两个团，可惜没有他们的宣传碟。dangdang小姐遂从最新发表的碟中为我挑了这张House混音合辑来。初拿到时，看着封面上注明的Jay Hannan和他主导的团Lazy Dog，觉得似曾相识，但又想不起来哪里见过。昨天有事翻看Everything But the Girl的网页，突然想起来，Lazy Dog不就是ebtg久休以后Ben Watt开的那个club吗？原来Jay Hannan就是Lazy Dog的另一成员，除了这个夜店在伦敦一直大受欢迎以外，Lazy Dog亦有出过两张混音合辑，两CD款，各人负责一张。查了资料，Lazy Dog于2003年关张，而Jay Hannan于今年受House名厂Seamless的Ben Sowton之邀，参加了旗下著名合辑《Bargrooves》新一辑的录制，即是这款《Influences》，延续《Bargrooves》的一贯作风，CD1由Ben Sowton操刀，CD2则为特邀嘉宾Jay Hannan的混音作品。整套碟，House的行云流水听得人无比舒畅，在家也能获得顶级House Club的享受。
from http://www.lannychai.com http://www.t26.com/fonts/display.php?f_id=765&dw=2434
http://www.t26.com/resources/fonts/CSW6965CV1AQ35642WU4BV6OZD2K89AU8B3JTX281SW6AIEJV0HVQ482G8R
http://www.t26.com/resources/fonts/CSWXU4BQ4MS2N8OG7W3D387J69AIJ2389EEL12ASJDFXQW6DY6XHIJEJ84S 你那则东西我看到第一发应就是给你一棒，你这么快就把lazy dog给忘记:mad:
这些字体贵么？ 不正标着价钱么
严格说来这款字体属于indie commercial font，哈哈
又偶得这夫妇俩近照一幅
http://www.smh.com.au/ffximage/2005/03/13/evrythingbutthegirl_wideweb__430x290.jpg:cute:
附interview一篇
Life for Everything But The Girl's Ben Watt has turned a harmonious full circle, Clara Iaccarino writes.
The route to musical success often involves time spent in the underground scene slogging away in small venues building a following. But Ben Watt of successful UK duo Everything But The Girl (EBTG), believes he's living the muso life in reverse.
While Watt's first musical incarnation was as a budding singer-songwriter in the mid-1980s, he soon hooked up, personally and professionally, with Tracey Thorn of the Marine Girls and together they became EBTG, touring internationally and selling millions of albums.
Now a DJ and producer with his own record label, Buzzin' Fly, Watt feels he's returned to the underground. "I'm really enjoying the way I've kind of lived my life in reverse," he told S while on tour in Australia with the Good Vibrations festival. "I was a mainstream artist and now I'm in the underground. That's really pleasurable for me.
"People say to me, 'Do you really enjoy operating under the radar like this?'. I think they forget that I began my career under the radar."
An album of EBTG remixes is released this week, celebrating 10 years of remixing. With selections made by Watt and Thorn, Adapt Or Die is testament to the duo's staying power. The classics (Missing, Walking Wounded and Five Fathoms) are all there, with Thorn's winsome vocals arcing above the beats. But it's been a while since the songbird has jumped on the mic to lay down new material. Watt and Thorn have three children. After a nightmarish tour with their first-borns (they had twins), Thorn decided to take a long break from the music industry. "She got f---ed up by it big time, trying to be a mother and a performer," Watt said. "She had to make a choice and clearly the family was more important to her. She doesn't have a big ego as an artist, she doesn't have this desire to get back in the spotlight at any opportunity."
But in saying that, Watt is the first to chime: "Never say never." The couple's children are at school and Thorn is thinking about a route back into the music industry as well as penning her life story to date. While negotiations are in the latent stage, German production duo Tiefschwarz have shown interest in recording with her.
"You never know," Watt said. "I can see Tracey certainly getting back into the studio, but whether I can see her going on a world tour is a different case in point."
With Thorn playing full-time mum, Watt revels in the hands-on involvement that comes from heading his own record label. Having experienced the mainstream, he now enjoys the freedom an independent label provides. Buzzin' Fly was awarded best breakthrough label at the House Music Awards in 2004 and Watt was delighted to earn recognition for his team's hard work. "I was really thrilled and that's when it flipped over," he said. "I felt that I'd done something and it had really been recognised for what it was."
A veteran of the music scene, Watt's diverse musical career has incorporated a number of twists and turns beyond the stage, studio and DJ booth. In 1992 he suffered from a rare intestinal disorder called Churg Strauss Syndrome and was hospitalised for about two months, slipping in and out of consciousness. The disorder begins with basic allergies, but soon his immune system was in rapid decline.
"It's the point where the immune system becomes completely hypersensitive and flips out and loses complete control over what it recognises as allergy," Watt explained. "And then it starts to attack body tissue. Basically it started to destroy my own body rather than just focussing on my allergies and that was the point where I became really, really sick."
Watt left the hospital severely traumatised. He said there was no psychological therapy to deal with his state and for the first six months he was "a bit of a wreck". To cope, he began writing down his experiences. He had no intention of writing a book, but found articulating the suffering was therapeutic. "I just wrote and wrote and wrote," said Watt. "Just everything I could remember. I found to name it, I could almost tame it."
Writing these notes freed up Watt's musical expression and his recovery spawned EBTG's musical reinvention. So began an exploration of beats and electronic soundscapes.
Now as DJ-producer-dad, Watt respects his musical roots, balancing family life with club-hopping to uncover new beatmakers. Responsible for the edits on Adapt Or Die, he philosophises about the nature of the remix. "Reinterpretation of pop music is something we're all getting used to in the last 10 years. It's something that's been in jazz since day one.
"Too many people have this Beatles-esque overview that somehow rock music is about definitive versions. If it throws a new interpretive angle on something you thought you knew well, how can you complain?"
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