Notable examples include: Ernest Tubb's "Walking the Floor Over You"; for years, his stereo version, recorded in January , was preferred by music directors to the original. Patsy Cline's breakthrough hit "Walkin' After Midnight. In , shortly after she hit with "I Fall to Pieces," Cline recorded a new stereo version, which was noticeably more uptempo and had a big-band "pop" arrangement, featuring backing vocals and a pronounced "clip clop" percussion effect.
Many music and program directors soon preferred the new version. Sonny James has done this several times as well, most notably with: His hit "Young Love.
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In , when he announced he was in the midst of leaving Capitol Records for the CBS family of labels, he recorded a new version of the flip side of "Young Love," called "You're the Reason I'm In Love," this time in a brighter, horn-heavy arrangement. When it came time to release the song in the spring of , James even gave the song a new name to go along with the new arrangement: "That's Why I Love You Like I Do. Eddy Arnold has done this on many occasions through the years. Examples: He recorded no less than four notable, distinctive versions of "Cattle Call.
His first re-recording, from , was done in an orchestra pop style, becoming a No. The first stereo version was recorded in and although not issued as a single, this acoustic guitar-prominent rendition became the version by far most familiar to country radio audiences of the mids onward, again as radio programmers were phasing out their older, non-stereo library for new stereo re-recordings by the same artists.
Finally a third re-recording featured Arnold as guest vocalist on a new pop-country version by teen superstar LeAnn Rimes ; Rimes' version was recorded in and became a minor hit late that fall.
Additionally, Arnold recorded the song twice more, the first in and yet another re-recording in so that his then-new label, MGM Records, could cash in. Not bad for what was essentially a cover version of a Tex Owens cowboy tune recorded more than a decade before the Tennessee Plowboy's first version.
Hank Williams also has been given this treatment. Thirteen years after his death, MGM Records issued an album called The Legend Lives Anew , with new instrumental arrangements, overdubs, backing vocals and so forth on 12 of his legendary hits. In other words, what would Hank Sr.
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Critics didn't really take to it, and while there surely were new Hank Sr. Leroy Van Dyke's first hit, 's "Auctioneer," began as a simple three-instrument song: a couple of guitars and drum. Later versions are more uptempo and have more instrumentation, and at least one other has two Truck Driver's Gear Changes. Sun" and "The Morning Side of the Mountain" in with slow string-heavy arrangements and they proved decent hits.
He remade "It's All in the Game" in with a "rock and roll" arrangement and got a 1 hit in the U. S one of the earliest on the modern Billboard Hot chart and the U. Similar updated remakes of "Please Mr. Sun" and "The Morning Side of the Mountain" were recorded and released on the same single in , with the former reaching 11 on the Hot Nat King Cole released The Nat King Cole Story in , a retrospective of his career which featured stereo remakes of his Trio and solo recordings, though a few of the songs were recent enough that they were already in stereo to begin with and were thus included as-is.
Strangely enough, "Non Dimenticar", which was extant in stereo, was remade regardless. This is where his fourth version of "The Christmas Song" see below debuted; it was later included in its own album, which was actually a repackaged reissue of The Magic of Christmas , plus this song and minus "God Rest Ye Merry, Gentlemen". Aside from the stereo sound, the version can be told apart from the version by Cole's voice being much deeper and more focused than on the earlier take. Willie Nelson 's version of "Pretty Paper.
While that version still gets some airplay, the most familiar version by far — recorded in for his Christmas album — had his signature sound of the s and s. Of "Rudolph Bob Dylan has become probably the most notorious example in modern pop music, frequently playing live versions of his old songs that sound very different to the original recordings, or previous live reworkings.
Fans are divided on whether this is a self-indulgent "fuck you" to fans, or a sign of his artistic genius. Paul McCartney has done this repeatedly from The '70s on. His album Wingspan has two different mixes of "No More Lonely Nights" on it, and he once released a classical album in which half the pieces were reworkings of lesser-known songs of his.
Then there are the concert versions of "Maybe I'm Amazed" which is usually as good as the original from McCartney , "Sgt. Two Beatlesongs he wrote most of, with one major melody in common John Lennon wrote "One After " in and recorded it with the Beatles with a skiffle beat. It didn't get heard until on volume one of the The Beatles Anthology package. The version that did get released was on the Let It Be album. It had a different tempo to it but the structure was the same.
McCartney recorded it as a guide for Badfinger with a slower tempo and slightly higher pitch than what Badfinger would eventually do. This appeared on volume three of The Beatles Anthology. George Martin didn't like Ringo Starr 's drumming, so he scheduled a re-recording with a session drummer - this version is easy to notice because Ringo plays a tambourine to still be in the track. Post- Visual Kei band Dir en grey has rearranged and rereleased a lot of their old material.
Most of them are remastered versions of old songs "-Zan-", "Rasetsukoku", some songs from the original version of UROBOROS , but many songs have been completely rewritten in an entirely different style. Miyuki Nakajima redoes her songs for her Yakai stage shows, sometimes even completely and literally rearranging them, as with the song " Kodoku no Shouzo.
Eric Clapton has done a soulful, unplugged version of his own song, "Layla. The Police released a remix of "Don't Stand So Close To Me", featuring a more electronic-based arrangement and a somewhat different chorus melody. It, along with an unreleased version of "De Do Do Do, De Da Da Da", were done like that because Stewart Copeland had broken his collarbone and couldn't drum, so he did it all electronically - and the arguments with him and Sting about which synth to use were so aggressive that they served as the last straw to break up the band.
Sting did a piano and voice version of " Roxanne " for the Live Aid show. Sixties bands loved turning old blues songs into insane rock-outs. Led Zeppelin are probably most famous for it. Megadeth was infamous for this during the '80s. Their first three albums all had covers, the first two being chosen especially to be as far as possible from Megadeth's patented "speed metal" sound; "These Boots Were Made For Walking", a pop song, and "I Ain't Superstitious", a blues song.
Their cover of "These Boots" especially, which humorously altered the lyrics to make them more blatantly sexual, drew the ire of the song's original writer, who demanded that they rerelease said album without the offending track. These songs were well received, but when they did a played straight version of Sex Pistols ' "Anarchy In The UK", where Mustaine threw in his own 'edgy' lyrics because he forgot the originals, it was badly received.
Mustaine has also done this with his own songs, notably "A Tout La Monde" which was rearranged with Cristina Scabbia singing guest vocals. The reaction to this was mixed. It attracted a lot of new fans, but many older fans were annoyed because they felt the rerecorded version would overshadow the original and for a brief period, they were right.
New Order was infamous for rearranging their own songs, numerous times. In particular, they re-recorded "Temptation" and "Confusion" two non-album singles that were the band's first major hits for the compilation Substance , leaving the original versions of the songs the unavailable on CD for years until Singles was released in They also remade their hit song "Blue Monday" in , shortening the song down to 4 minutes in order to get the seven minute long song played on the radio as well.
They played a pretty awesome drum'n'bass inflected update of their Joy Division song 'Isolation' at the Reading festival and it's on a John Peel session recording. Similarly, Paul Hardcastle's singles "19" and "Rain Forest" were re-recorded for his self-titled album, and for many years, these were the only versions available on CD.
They turned their bombastic synthpop song "Can You Forgive Her? Mike Oldfield has released at least four different versions of Tubular Bells , each slightly different to the one before. Bon Voyage the Starflyer 59 side project featured two different versions of a song on the same album, Lies and not even as a bonus track, either.
Woven Hand has made two soundtrack albums, Blush Music and Puur , which feature rearrangements of prior songs usually to make the songs longer. The Split Enz tribute album "eNZso" features old hits retooled into orchestral versions performed by various vocalists and the New Zealand Symphony Orchestra. Kylie Minogue has done this a lot.
She has remade various songs into ballads, jazz, and electronica. One-Hit Wonder trance group Binary Finary's "" has seen about a dozen arrangements. Ayla's self titled single, originally released in , was rearranged by DJ Taucher Ralph Armand Beck in , so much that it sounded nothing like the original, which promptly faded into obscurity. In turn, DJ Tandu another alias of Ingo Kunzi, the main man behind Ayla did a rearrangement based on Taucher's version in , then that version itself was covered by Kosmonova.
They would continually tweak, remix, and rerelease their material, with no version being the definitive one. Engineer Mark Stent told Sound on Sound magazine: It was in working with Bill Drummond and Jimmy Cauty that things really started to happen in a new way, using mixing as a work-in-progress, rather than an end stage. We were running everything live in the studio, from sequencers and samplers. Obviously there was also stuff on tape, but they would come in with their Ataris and Akai samplers, and we would end up rearranging the whole song whilst mixing things. They would then take away what we did, work on it again, and come back a while later, and I'd mix stuff again.
My KLF work put me in the picture, and after that the phone never stopped ringing. Original version: You never hold onto what you believe in. I think I've lost you, tell me I'm dreaming. Why do wait to live 'till we begin to die? I made the incision. I begged and I borrowed.
Now that I've found my side, well I realize I was born to go blind. Rearranged Version: A vision's a portrait, a palate of colors. We swim in an ocean with blindfolded lovers. And now that I've found my side, I finally realized that it was there the whole time. Professional Wrestling. Bret Hart : His theme "Hart Beat," which was rescored and evolved into "Hart Attack," but beneath the surface remained the same theme until his final match the infamous Montreal Screwjob.
And when Christian's best buddy Edge adopted Alter Bridge's "Metalingus" , it was literally rearranged. A slower, darker, more morose, mostly instrumental version was used during his "ugly" phase.
Through the Bible with Les Feldick, Book 1
Upon becoming Stardust, he gained the theme tune "Written in the Stars"; a more whimsical, stringed interpretation following the same chord structure. The Corre theme song, "End of Days" was tweaked many times in their 6 months of existence. Dolph Ziggler 's first solo theme song was "I am Perfection" by Cage 9. By this time, it was practically obliged for people to chant "You suck! The newer version edited this portion out, so as to keep people from chanting it regardless of his Face turn.
Ironically, the chants were originally just his name, with the crowd singing "Angle! It wasn't until later that it turned into "You suck! After the Invasion, Kurt briefly used a metal remix of his theme. When he began teaming with Pierre Oulette as The Quebecers in , the theme was reworked to "We're Not the Mounties," with Rougeau and Oulette re-recording the theme as a duet.
The instrumentation was slightly re-worked, but the only changes to the lyrics were the title line and first-person pronouns e. Basically, based off his signature line "If you smeeeellllllll The development and evolution of the theme is discussed by Jim Johnson in an official Youtube Video "Stone Cold" Steve Austin 's iconic in-house music was remixed with lyrics by Disturbed when he made his highly publicized return in September , all up until July , when he made an ill-fated heel turn and used a one-time-only slowed-down version. Drowning Pool also did a cover that's rarely used.
After almost 20 years of gradual remixing and added levels of epic, the The Undertaker 's theme is ultimately a version of Chopin's Funeral March. American Country Countdown : The opening and closing theme, "My Kind of Country," had an electric guitar added to the original track in the summer of The opening theme was redone in ; the hour-open theme, retained when the music cue package was implemented, was redone in Radio 4's PM has a business news section called " Upshares, Downshares ".
Every week, it's introduced by a different arrangement of the Upstairs Downstairs theme, many of them sent in by listeners. Morning Edition has had at least 2 arrangements. The CBS radio top-of-the-hour news sounder was rearranged with an orchestral sound at some point in the 's. The burlesque band is said to be provided with the exact same arrangements used earlier; this is obviously not actually true. Also used within the show of Dreamgirls to represent two songs being Covered Up : Jimmy and the Dreamettes' exuberant version of "Cadillac Car" is replaced by a practically easy-listening version by Dave and the Sweethearts, while Effie's soulful "One Night Only" vies with Deena and the Dreams' disco version.
Cirque du Soleil 's concert tour Delirium merged this with Rewritten Pop Version for a set list of songs derived from most of the shows from Saltimbanco through Varekai. In addition to the many cut songs , the songs of Vanities: A New Musical were often rearranged, shortened, extended, or had their lyrics changed slightly between productions, e. The Silent World of Hector Mann was a study of his films, not a biography, and whatever small facts I threw in about his offscreen activities came directly from the standard sources: film encyclopedias, memoirs, histories of early Hollywood.
I wrote the book because I wanted to share my enthusiasm for Hector's work. The story of his life was secondary to me, and rather than speculate on what might or might not have happened to him, I stuck to a close reading of the films themselves. Given that he was born in , and given that he had not been seen since , it never would have occurred to me to suggest that Hector Mann was still alive.
Dead men don't crawl out from their graves, and as far as I was concerned, only a dead man could have kept himself hidden for that long. The book was published by the University of Pennsylvania Press eleven years ago this past March. Three months later, just after the first reviews had started to appear in the film quarterlies and academic journals, a letter turned up in my mailbox. The envelope was larger and squarer than the ones commonly sold in stores, and because it was made of thick, expensive paper, my initial response was to think there might be a wedding invitation or a birth announcement inside.
My name and address were written out across the front in an elegant, curling script. If the writing wasn't that of a professional calligrapher, it no doubt came from someone who believed in the virtues of graceful penmanship, a person who had been schooled in the old academies of etiquette and social decorum.
The stamp was postmarked Albuquerque, New Mexico, but the return address on the back flap showed that the letter had been written somewhere else--assuming that there was such a place, and assuming that the name of the town was real. I might have smiled when I saw those words, but I can't remember now. No name was given, and as I opened the envelope to read the message on the card inside, I caught a faint smell of perfume, the subtlest hint of lavender essence. Dear Professor Zimmer , the note said. Hector has read your book and would like to meet you. Are you interested in paying us a visit?
Yours sincerely, Frieda Spelling Mrs.
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Hector Mann. I read it six or seven times. Then I put it down, walked to the other end of the room, and came back. When I picked up the letter again, I wasn't sure if the words would still be there. Or, if they were there, if they would still be the same words. I read it six or seven more times, and then, still not sure of anything, dismissed it as a prank.
A moment later, I was filled with doubts, and the next moment after that I began to doubt those doubts. To think one thought meant thinking the opposite thought, and no sooner did that second thought destroy the first thought than a third thought rose up to destroy the second. Not knowing what else to do, I got into my car and drove to the post office. But it was there. I found it in volume one on page , sitting on the line between Tierra Amarilla and Tijeras, a proper town with a post office and its own five-digit number.
That didn't make the letter genuine, of course, but at least it gave it an air of credibility, and by the time I returned home, I knew that I would have to answer it. A letter like that can't be ignored. Once you've read it, you know that if you don't take the trouble to sit down and write back, you'll go on thinking about it for the rest of your life. I haven't kept a copy of my answer, but I remember that I wrote it by hand and tried to make it as short as possible, limiting what I said to just a few sentences.
Without giving it much thought, I found myself adopting the flat, cryptic style of the letter I had received. I felt less exposed that way, less likely to be taken as a fool by the person who had masterminded the prank--if indeed it was a prank. Give or take a word or two, my response went something like this: Dear Frieda Spelling. Of course I would like to meet Hector Mann. But how can I be sure he's alive? To the best of my knowledge, he hasn't been seen in more than half a century. Please provide details.
Respectfully yours, David Zimmer. We all want to believe in impossible things, I suppose, to persuade ourselves that miracles can happen. Considering that I was the author of the only book ever written on Hector Mann, it probably made sense that someone would think I'd jump at the chance to believe he was still alive.
But I wasn't in the mood to jump. Or at least I didn't think I was. My book had been born out of a great sorrow, and now that the book was behind me, the sorrow was still there.
I feel like her latest release pretty much describes our photoshoots, so y’all will probably love.
Writing about comedy had been no more than a pretext, an odd form of medicine that I had swallowed every day for over a year on the off chance that it would dull the pain inside me. To some extent, it did.
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But Frieda Spelling or whoever was posing as Frieda Spelling couldn't have known that. She couldn't have known that on June 7, , just one week short of my tenth wedding anniversary, my wife and two sons had been killed in a plane crash. She might have seen that the book was dedicated to them For Helen, Todd, and Marco--In Memory , but those names couldn't have meant anything to her, and even if she had guessed their importance to the author, she couldn't have known that for him those names stood for everything that had any meaning in life--and that when the thirty-six-year-old Helen and the seven-year-old Todd and the four-year-old Marco had died, most of him had died along with them.
They had been on their way to Milwaukee to visit Helen's parents. I had stayed behind in Vermont to correct papers and hand in the final grades for the semester that had just ended. That was my work--professor of comparative literature at Hampton College in Hampton, Vermont--and I had to do it. Normally, we all would have gone together on the twenty-fourth or twenty-fifth, but Helen's father had just been operated on for a tumor in his leg, and the family consensus was that she and the boys should leave as quickly as possible. Eddy goes over, and after a little haggling, convinces Rolf that he doesn't need to spend all his time doing busywork.
Rolf is quick to agree, and heads over to the cement to play with his friends. Edd then comes over and points out to his friends that they may have convinced everyone else in the cul-de-sac that a life of rule-breaking is where it's at, but they still haven't convinced him. Ed and Eddy snatch Edd and carry him back to his room, where they use his hat to tie him to a fan. Eddy then goes over to Edd's bookshelf and switches the books around. Edd begs him not to, but this caterwauling is nothing compared to the din that arises when Eddy goes over to the mattress and, seeing the "Do Not Remove Under Penalty Of Law" tag on it, grabs it and starts to tear it.
Edd begs his friend to stop, and tries to break free. Edd does break free, but at the cost of his hat coming off. Edd swiftly shoves his hat back on and begs Eddy not to tear off the tag, but Eddy rips it off. Seeing this, Edd says that Eddy has broken him. Eddy is on the verge of setting Edd free when the latter notices Ed with his ant farm. Frenzied, Edd demands that his ants be put back; when Ed drops them by mistake, Edd wraps his legs around Ed's neck and squeezes.
The Eds back out of Edd's house , not bothering to set their irate friend free, with Ed barely escaping death by strangulation. Once outside, they see the utter chaos that the cul-de-sac has descended into. Eddy is pleased, rather than annoyed, by this, and enjoys the show of hedonism and chaos that surrounds them: Rolf laying off his chores and letting his animals run loose, Kevin slingshooting dirty dishes, Nazz guzzling down soda and burping loudly, Jonny streaking nude with Plank censoring his front, and Sarah and Jimmy sledding down an ice cream mountain and eating it till they bloat.
Suddenly, Edd calls for attention; he has escaped his bonds and has something to say. He is wearing pantyhose on his head, but despite this he still lets everyone know something important: he has contacted everyone's parents.