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Simple Minds - Theme For Great Cities (Moby Remix) FLAC album

Simple Minds - Theme For Great Cities (Moby Remix) FLAC album

Tracklist Hide Credits

A Theme For Great Cities (Moby Remix)
Remix – Moby
 6:03
B I Travel 2012 (John Leckie Remix)
Remix – John Leckie
 4:42

Companies, etc.

  • Phonographic Copyright (p) – Virgin Records Ltd.
  • Copyright (c) – Virgin Records Ltd.
  • Published By – EMI Music Publishing Ltd.

Credits

  • Written-By – McGee*, Burchill*, Forbes*, Kerr*, MacNeil*

Notes

Edition of 1000 copies for Record Store Day 2012

Made in EU

Barcode and Other Identifiers

  • Barcode: 5 099946 318619
  • Label Code: LC0542
  • Rights Society: SDRM BIEM


Simple Minds - Theme For Great Cities (Moby Remix) FLAC album

Musician performer: Simple Minds

Title: Theme For Great Cities (Moby Remix)

Date of release: 2012

Style: Synth-pop

Genre: Electronic

Size FLAC: 1555 mb

Rating: 4.5 / 5

Votes: 648

Other Formats: DTS DXD AHX RA FLAC VOC AUD

Simple Minds Synth-pop 2012

Related to Simple Minds - Theme For Great Cities (Moby Remix) FLAC Albums

Malodred
Living in The States, I had to buy this aftermarket. The good news is it was worth every penny. There are sterling mixes that show these classic songs in a somewhat new light without losing their essences in the process. It's not hyperbole to suggest that these songs are among my favorites ever by Simple Minds and their new 2012 retoolings are most welcome indeed. Of the two, the Leckie mix of "I Travel" gets the upper hand; primarily because Moby has dared to replace Derek Forbes' killer bass line with a synth. Other than that -horrifying- fact, the remix is sterling. Moby adds a new middle eight to the track for a different feel. Chalk this one up as another successful remix [the fourth] of this classic instrumental. I enjoyed the '91, '98, and now the '12 mixes of this very much but the original is still primary to me.Leckie's version of "I Travel" casts the track in a more intense and claustrophobic mix that excises the famous proto-acid-house sequencer riff from the intro while protracting the synth notes in the introduction before slamming into the train rhythms full on right up front. The sequencer riff finally appears in the middle eight following the intro synth riff again where it finally releases the considerable tension that has been ratcheting upward throughout the song in a relentless fashion. Burchill's heavy tremolo guitar is downplayed in many places for emphasis of McNeil's keyboards. Kerr's vocals move into dub space for the last 80 or so seconds and he's been EQed to be less trebly in the mix as well. Crucially, Leckie doesn't touch Forbes' bass lines. The mix gains almost another minute, making it roughly 4:45. I've never liked Leckie's original 12" remix from 1980, it excised far too many aspects of the original that I thought were the song's strengths, but I'm glad he's had another crack at this classic. This new mix is neck and neck with the original with me after three plays. Which is my way of saying that Leckie has very successfully remixed one of my favorite songs ever.http://postpunkmonk.wordpress.comFor more ruminations on the Fresh New Sound Of Yesterday
Malodred
Living in The States, I had to buy this aftermarket. The good news is it was worth every penny. There are sterling mixes that show these classic songs in a somewhat new light without losing their essences in the process. It's not hyperbole to suggest that these songs are among my favorites ever by Simple Minds and their new 2012 retoolings are most welcome indeed. Of the two, the Leckie mix of "I Travel" gets the upper hand; primarily because Moby has dared to replace Derek Forbes' killer bass line with a synth. Other than that -horrifying- fact, the remix is sterling. Moby adds a new middle eight to the track for a different feel. Chalk this one up as another successful remix [the fourth] of this classic instrumental. I enjoyed the '91, '98, and now the '12 mixes of this very much but the original is still primary to me.Leckie's version of "I Travel" casts the track in a more intense and claustrophobic mix that excises the famous proto-acid-house sequencer riff from the intro while protracting the synth notes in the introduction before slamming into the train rhythms full on right up front. The sequencer riff finally appears in the middle eight following the intro synth riff again where it finally releases the considerable tension that has been ratcheting upward throughout the song in a relentless fashion. Burchill's heavy tremolo guitar is downplayed in many places for emphasis of McNeil's keyboards. Kerr's vocals move into dub space for the last 80 or so seconds and he's been EQed to be less trebly in the mix as well. Crucially, Leckie doesn't touch Forbes' bass lines. The mix gains almost another minute, making it roughly 4:45. I've never liked Leckie's original 12" remix from 1980, it excised far too many aspects of the original that I thought were the song's strengths, but I'm glad he's had another crack at this classic. This new mix is neck and neck with the original with me after three plays. Which is my way of saying that Leckie has very successfully remixed one of my favorite songs ever.http://postpunkmonk.wordpress.comFor more ruminations on the Fresh New Sound Of Yesterday