Exotic New York techno duo Wolf+Lamb were so enthused about a re-edits package from Boston producers and all-round party-boys Soul Clap last May that they went and set up a new label, Wolf + Lamb Black, just to get it out. Soul Clap had revisited two lost soul classics, adding kick-drum punch to the saccharine 70s grooves – it was a funky, super successful foil to the tech-driven comings and goings of Wolf+Lamb’s main, eponymous imprint.
This month, Soul Clap and Wolf+Lamb Black are at it again, releasing triple-track EP R&B edits – a more than subtle re-jig of major croons from Jamie Foxx & Kanye West, R Kelly and Lonnie Liston Smith. But it’s the subtlety that’s causing consternation, online reviewers and forum users suggesting that Soul Clap’s latest work is plain lazy, and that DJ ‘edits’ have no real place in clubland.
Wolf+Lamb would strongly disagree. Their ‘Black’ label has made quite a stir from edit work via the likes of Soul Clap and Hot Natured (remember that cover of MGMT’s mainstream smash Electric Feel?) and the dancefloor euphoria shows no sign of abating.
Soul Clap
Soul Clap, themselves, point towards the past, arguing that the edit is steeped in dance history and has always proven itself to be a major tool in the DJ’s armoury. “The tradition of the DJ edit goes back to the disco days and has always been a powerful tool for studio adept DJs to breath new life into an old track or make a favorite [sic] more powerful on the dancefloor” they explain through their official website. “For us edits started out as a way to make our mixtapes more interesting and then progressed to a full on creative outlet to make versions of our favorite classics into contemporary expressions for the party.”
On R&B Edits, the Clap chaps comment [sic]: “With this, our 3rd edit release on Wolf + Lamb Black we went in a different direction, instead turning our scissors to some R&B favorites with results we never could have imagined.”
It’s the very notion of pop-R&B scissoring that bothers Resident Advisor reviewer Jack Haighton, who types: “Whether or not a rehash of someone else’s work is deserving of review is debatable… Wasn’t the charm of the re-edit all about unearthing that forgotten gem, cutting the crap and dropping a time-bomb on modern sensibility? Otherwise I guess it’s just a good pop tune with a kick drum on it.”
Various posts, however, on a related Resident Advisor thread hit furiously back. One, from Bostonian ‘TannerRoss’ explains: “You can re-edit ANYTHING your heart desires!... Clearly, there is much more to this [R&B Edits] than just throwing a kick on it and I find this review to be rather ignorant. Did you even listen to the original? I think that in a time of shitty music and shittier reviewers we need some fun.”
It is certainly helpful to consider the career of club legend Danny Krivit, who has made much of his stellar career from edit work as Mr K. Krivit’s studio tweaking has ranged from the old to the new, from the simple to the radical, from the cobwebby underground to the fast-flowing mainstream, from the clever, quirky update of an outfit like The B-52s to the rather obvious, but gloriously bootylicious re-styling of Beyonce (Crazy In Love, namely.)
Edits are never simply rhythm tracks stretched over basic pop soundtracks; there’s a whole lot of manoeuvring going on as, perhaps, Soul Clap’s 2009 edit of an old 80s soul jam, Love Light, better indicates – shrewd use of echo, dub and drum make all the difference. But even when edits are kept simple, if they work people’s feet then what’s the problem?
Forum contributor ‘Slowdance’ tries to put the re-edit furore into even greater context: “Accusing Soul Clap of being lazy in their production? They found a way to squeeze in a pop song they loved amongst the other music they play out, thats [sic] how most edits like this start, as fun DJ tools. I just don't get the point of reviewing it in a way that tries to asses [sic] it as something it isn't.”
Undeniably, the oldest roots of DJ editing were wrapped around the idea that an artist’s current and official record catalogue could be dissected and reassembled as super-effective dancefloor weapon. Brooklyn disco DJ Walter Gibbons led the way, taking apart multi-track tapes belonging to 70s acts such as Double Exposure and Salsoul Orchestra, and crafting viable new club-friendly songs from them; others followed, including the legendary Tom Moulton (he, who created the extended dance mix and 12” record) and, of course, Krivit. The latter, rather aptly, is about to release a new compilation of classic ‘tweaks’ - Edits By Mr K Vol 2: Music Of The Earth (on Strut Records) - reinforcing the fact that he has generated over 300 re-edits during his career, and therefore the case that edit culture remains an intrinsic, totally worthwhile part of dance culture.
Walter Gibbons
The debate will no doubt rage and rage. Tip-toeing back onto the Resident Advisor thread, another sceptical member is now venting [sic]: “I wish some of these publishing and record companies would grow a set and start sending out some cease and desist letters. Enough with the edits, for real. Leave the original tracks alone…You're not doing anybody any favors. Not to mention what you're doing far exceeds copyright infringement and actually is more detrimental than illegal downloading or pirating.”
The topic is obviously one close to a fair few hearts, as evidenced by Circo Loco resident Jamie Jones, one half of Hot Natured – who’s not known for wading into these kind of debates – was even driven to comment [sic]: “The only reason I ever started to put some [edits] out there was because of the amount of people who asked me for copies. Most of them if not given away for free are only released on vinyl, which helps keep the dying vinyl market alive, and is never going to harm the original artsist as the money made barley covers the costs. And I know for a fact that Myself Gadi [Mizrahi, one half of Wolf+Lamb] Soul Clap and anyone involved has always said, if any original artsist wants anything from the release they are welcome to have all of any profits. Every single one says EDIT, which means its not an original production, or even a remix, Nobodys trying to claim this music as theirs.”
That said Jones is quick to defend the artist merits of his edit work with Hot Natured [sic]: “If this reviewer [Haighton] can send me 1 track that’s anything to do wit hot natured where only a kick has been added, I will stand on the dj booth of DC10… naked eating not only my shorts, but my t-shirt socks shoes and pants too...”
As previously mentioned, the debate will no doubt continue unabated, with occupants of both the lovers and haters camps strongly believing their own opinions to be correct. Love it or loathe it however, it’s got to be said that the edit is far from going out of fashion any time soon.
Soul Clap R&B Edits are out now and available from Phonica. To read the RA review and subsequent debate click here.
