Dj Jean Play That Beat Extended Mix Zippy: A Classic Remix of a Classic Song

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Dj Jean Play That Beat Extended Mix Zippy

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This radio mix of 'Forget' got heavily played on BBC Radio 2 and 6Music over the summer of 2014. We turned up the backing vocals, gave it a spruce up, and trimmed it down to under four minutes. We also included a special acoustic version of 'The Levels' that I recorded with David Gilmour at his studio in Hove.

This is one of my favourite recordings I've made. It was part of the unfinished Outspoken project that I began in 2002. When Baby Blak recorded the spoken vocal for 'Attack, Attack, Attack' I asked him to record this piece too. I later set it to a beatless backing track and used it on the Buzzin' Fly Vol 3 compilation and then on the We Are Silver EP. I wrote it after watching my 4 year-old daughter on the lawn on a winter afternoon.

Along with my remix of Me'Shell Ndegeocello's 'Earth' this ranks among my personal favourites. The frantic euphoria of the Lazy Dog remixes was spent and I was searching for a deeper but still melodic sound. It has a very sybaritic feel. I remember playing it back one afternoon in Neighbourhood - the club I opened with a couple of partners in west London in 2003 - to an empty dancefloor on the newly installed Funktion 1 sound system. There were very few F1 systems in London at the time, and I stood right in the axis of the sound and was completely transported - hats off to my long-time mastering engineer, Miles Showell, for another great cut. Not a peak-time mix, or a ground-breaking approach, but to me it just seems to work, and sometimes you have to be content with that.

I have mixed feelings about this remix. I felt under pressure as Defected were after something as big as the Lazy Dog mixes, but I also felt I'd perhaps rinsed that sound out by the time I embarked on it. I invited Steve Pearce to play bass, and Dick Pearce adds one a classic melancholy trumpet solo, but somehow the track lacks a vital cutting edge, and I could never put my finger on why. Sandy Rivera was also putting out some killer tracks at the time, first at KOT and then on his own, and perhaps I just tried too hard. It happens.

Twenty years after my previous single - an interim filled with nine albums and countless singles with Tracey Thorn in Everything But The Girl - I made this. And how times had changed. After growing up influenced by folk and jazz, by the late nineties I had become immersed in electronic music and club culture. I had run out of ideas with words and had become fascinated by beat and ritual. As Everything But The Girl was wound down, I started a club night in west London with Jay Hannan called Lazy Dog. We wanted to play deep house records on a Sunday from 4pm to 11pm. At the time this was quite a radical thing to do. We would spend the week scouring the London dance music shops for the hottest releases and play them on the Sunday. Jay worked at Blackmarket which gave him an edge, but one week, short of good tunes and keen to have something to play at the weekend, I went into my home studio and recorded 'Lone Cat' in a few hours. I played it at Lazy Dog on the the Sunday and suddenly realised I had made a hot track. The vocal clips came from two hip-hop sources - 'Politix' by The Lone Catalysts (hence the title), and 'Set it Off' by Organized Noize, which I later had to have re-sung because of copyright issues. I played or programmed the rest. After the early reaction, I made fifty white labels to give to friends. A few weeks later I got a call from New York. Someone had seen a record with 'Watts' stamped on the label in the famous old downtown record shop, Dance Tracks. It was my track. My own white label had be bootlegged. Two thousand copies were in circulation. Paul Farris at Uptown Records in Soho said he had sold out of his order already. I contacted the distributor, struck a deal, and regained control of the track. It ended up becoming the first single on Buzzin' Fly.

Of all my Lazy Dog remixes, this remains my favourite. I always sense an elegance to the deep swing of the track that I largely take to be the result of Martin Ditcham's fantastic percussion playing. I'd asked for congas but he brought along African drums that has a similar but unique tone. They really add character to the rhythm part. I also love the simple harmonica that creeps in in the second verse. Makes me think of Stevie Wonder. We'd taken Lazy Dog on tour to America by this point and I have vivid memories of this going down a storm in Los Angeles at the ace Bossa Nova parties we played at the Fais Do-Do Club in Los Angeles. As far as I know this track was never release commercially, and was only ever serviced on promo to DJs.

The third Lazy Dog remix I made in 2001, and perhaps the least well known. I used a Wah-Wah'd Clavinet and a mini Moog to play the main riffs and set the mood. Lovely singing from Maxwell on this. My main memory of playing this is at a wanton Virgin Records party me and Jay were invited to in Portugal. It was in the days when record companies pushed the boat out, and took place on the medieval ramparts of the Castle of the Moors in Sintra outside Lisbon, so high up that the low cloud at the top of the cliff was swirling around in the lights like natural dry ice. Those were the days.

The first CD we released as Lazy Dog. I mixed CD 1 and Jay Hannan mixed CD 2. The tracks on my mix are: Julien Jabre 'That Day', Everything But The Girl 'The Future Of The Future' (Acapella) / Lisa Shaw 'Always' / Mark Grant 'Jazzy Kinda Sum'thn' / Dawn Tallman 'Be Encouraged' (Matt's II Deep Dub) / Leee John 'Mighty Power Of Love' (Mood II Swing Instrumental) / Sandy Rivera Feat. LT Brown 'Come Intro My Room (Soul Vision 'The Take It Back Mix') / Everything But The Girl 'Wrong' (Acapella) / Urban Blues Project Presents Michael Procter 'Love Don't Live' (Soulfuric Dub) / Sound Of Soul 'The Spiritual Groove' (Hard Steppin' Dub) / David Anthony 'It's All Right' / Julius Papp 'Round In My Mind' (Take 2) / Kerri Chandler 'Isis'. I was always embarrassed no one spotted the typo on the finished artwork that mis-spelled Kerri Chandler's name. Was still playing that Sound Of Soul record ten years later.

'Central Reservation' was Beth's follow-up to her acclaimed debut 'Trailer Park'. She asked me if I'd like to work on a couple of tracks with her. We recorded 'Stars All Seem To Weep' in my old home studio in north London, where I'd made most of Everything But The Girl's 'Walking Wounded'. She used to sit out on the steps to the basement with her notebook scribbling lyrics. We tried a few different approaches, and then one morning she came over and I played her the descending woozy synth chords that make up the heart of the track saying they would work with the melody she had written. She loved it straighaway. The track didn't take long to finish after that. The version I did of 'Central Reservation' was going to be the main version on the album, I think, but at the last minute Beth decided on including her original slow version, and renamed mine the 'Then Again Version' (which I never quite understood) and put it at the end. I was glad it got used though. After all the recordings at home were finished Andy Bradfield helped me mix both at The Townhouse.

I have mixed feelings about my debut album. At its best I love its fearless use of warm jazz-flavoured chords, the tiny crystalline piano lines, the gauzy atmosphere and sense of mystery. It sounds both ardent and conceptualized and was clearly unlike anything else around at the time, which is something to be proud of, I suppose. If I have reservations it is about the lyrics. Too often the earnestness and desire to be open tips over into flagrant self-commiseration, although it didn't feel like that at the time. If felt honest and real. But hey, I was nineteen and in love! After its mixed reviews I veered away from the album from years, thinking it flawed and not worth revisiting, but recently I have been won over again by its very particular mood and tracks like 'North Marine Drive' (the best lyric, I think). The hectic tempo of a couple of the tracks was a direct influence of meeting Tracey; she played me pop bands new to me like The Distractions and Orange Juice. The photos on the cover of the kids playing chicken with the waves and Byronic one of me on the back were taken in Bridlington by one of my university lecturers. He did the hand-tinting to the front cover too, I think. North Marine Drive is the name of a rather ordinary residential road in Bridlington, but in my mind I pictured the similarly-named Marine Drive beneath the castle in Scarborough.

Of all my early recordings, this is perhaps the one I am still proudest of. Precocious and nineteen, I managed to get Robert Wyatt's phone number and talked him into singing and playing on it with me. He played two takes of piano on 'Walter and John' and suggested keeping both, panned left and right. The stuttering interplay of the two parts is really lovely. His voice is so great too. He also played a little solo on 'A Girl in Winter'. If there is a naivety to the lyrics here there is also a great amount of heart. The guitar was a Gretsch 1963 Clipper that I bought from Potter's music shop in Richmond, Surrey. I still have it, and played it only the other night on my gigs at The Slaughtered Lamb. The muffled reverberating echo was provided by an Evans Echopet EP50.

Here are this 2022 summer's top 20 most requested and highest voted songs from Jukestar parties. Jukestar is the brilliant social jukebox app, that allows guests to take control of the music at parties. They can request, vote and veto. The good stuff gets played, the bad stuff gets skipped and no one can hog the playlist! It's available on iOS, Android, Mac and PC. 2ff7e9595c