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FUNNY REMIX - YOUR NEW FAVORITE
Are you not really interested in new music in recent top charts and only listening to your old favorites? We can make your old songs become new with the AV Music Morpher Gold. By change the voice of singers to make them sound funny, adding hundreds of audio effects, removing vocals, etc., you can change a song into a different and interesting style.
Are you still doubtful of the result? Let listen to the song remixes below. We make sure that you will enjoy them. Thousands of people in the world do, why not you?
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Lou Reed, the remix?
Lou Reed's music has
hit the dance clubs. What would the man think of that development, wonders Neil
McCormick.
'I've never thought of myself as something in pop music," Lou Reed once said, in
a rare interview, back in 1989.
"I'm not someone who's supposed to be in teenage magazines. Nothing against
teenagers, but I expect the listener is going to have to really listen to my
records, and those people, well, they won't want to do that, so they shouldn't
even bother. They won't enjoy it. I'm serious about the records. And since I'm
serious, I expect other people to be."
I wonder what Reed, 62, makes of his current incarnation as a dancefloor
monster, his gravelly off-pitch voice putting the dance-kids through their paces
on a set of mind-numbingly banal remixes - by Dab Hands and Groovefinder - of
Satellite of Love? (All together now: "Boom! Boom! Boom! Satellite of LURRVE!").
I guess someone who has appeared wearing black leather and shades in ads for
American Express can't be too fussy about how his bills are paid, and this
battering-ram version of his wistful '70s classic has just given Reed his first
UK Top 10 hit since Walk on the Wild Side in 1973. In between, he did utter one
line on the BBC's atrociously schmaltzy multi-artist version of his own Perfect
Day, a million-selling No.1 hit in 1997.
And that is it, the sum total of Reed's career as a pop star: a trashy remix, a
charity record and one certifiable classic. Somehow, it doesn't seem much for
one of the most acclaimed songwriters of our times, a rock legend who has been
putting out groundbreaking records since the mid-'60s. But then Reed's cultural
status far outweighs his commercial clout.
The Beatles, the Rolling Stones and Bob Dylan may be the holy trinity of '60s
rock, but Reed's seminal New York outfit the Velvet Underground can claim to
have shaped the future of music almost as significantly as their more successful
contemporaries.
A genuinely original songwriter, Reed struck out against the prevailing mood of
flower power by creating urban street tableaux mired in the dark appeal of hard
drugs, sadomasochism, prostitution and gender-bending. The Velvets released only
four albums during their short lifespan (1966-71), radio ignored them, and not
many people bought them. But, with their Warhol-endorsed chic, poisonous
attitude, atonal vocals, shuddering rhythms and thrashy distorting guitars, they
became godfathers of art-rock, punk, indie and goth.
Cited as inspiration by David Bowie, Roxy Music and the Sex Pistols, the Velvet
template can be detected in every band who have favoured noise, attitude,
experimentalism (and perhaps the vampiric appeal of wearing sunglasses at night)
over ordinary commercial criteria.
You just have to listen to the flat, electric strum and deadpan vocals of the
Concretes, current darlings of the music press, to see how intact the Velvets'
appeal remains to each new generation. It is probably fair to say that no other
band ever achieved so little success in their time and yet exerted such a vast
influence on those who followed.
Despite his endorsement by the BBC for Perfect Day (allegedly written as a paean
to heroin), Reed has never been what you would think of as family-friendly
listening. His solo career has been wilfully erratic (including a double album
of feedback and distortion entitled Metal Machine Music).
His three hits, though spread over 31 years, all stem from the same album,
1972's Transformer (produced by David Bowie). These are songs of wit and
substance, delivered in styles spanning music hall to glam-rock, and apparently
constructed soundly enough to survive having an inappropriate rave beat
attached.
One doubts that Reed, a legendary curmudgeon (and one of the most deliberately
and provocatively tedious people I have ever interviewed), will be impressed.
"Maybe I'm good background music," he has said. "But I try not to be."
- Daily Telegraph.
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