The Sound Of Philadelphia The Tom Moutlon Remixes

Sorry guys if this has been discussed before but it was only today that I ripped the cellophane from the box of 4 CD's that Harmless Records have released over here in the UK.
I think I've been looking forward to this more than anything else so far this year with a couple of exceptions.
So far I've not been dissapointed at all [[not that I ever expected to be so) staying faithful to the original master Mr Moulton has injected a whole new life into tracks that have become part of my life in their original form and in some cases has recscued them from being in the 'over familar' bracket.

The O'Jays - Backstabbers is just kickin' and the Intruders, Win Place Or Show just magical.
Using only original elements Tom has produced one of the most crucial and influential remix packages EVER and if you are reading this Tom stand up and take a well deserved bow.

These new mixes are breathing new life into material that was already up there amongst the best recordings ever and this will appeal to those of us who have come to love both TSOP and Tom's work.

I've said it before but that doesn't mean I'm not going to say it again - it's time for a similar box set from Tom on all my favourite Motown tracks - what I'd give to see and hear that.
Oh PLEASE those strings on Love Train are amazing........and This Time Baby says it all THIS TIME BABY they have got it RIGHT.

Well said Paul. While many other people remix [[and in some cases re-edit) tracks and make them something new, the end result often changes and diminishes the original recorded 'feel'. After listening to Tom's work as I play my way through the box set, I not only admire Tom's skill, time and perception in hearing and highlighting aspects of the recorded song........but........more so, when the track ends I'm left thinking how wonderful the Philly recordings were in the first place.

Paul: Tom made a 17 min. remix of Love Hangover [[when the first Motown Remix project was getting ready) which is still not released! How about Motown releasing that track first?!

Wow now that would be something - anyone listening?

Hi Paul,

I'm glad we finally got the package to you! :D

The main thing with projects like this, is having enough will to get the project done. I hate to be pedantic but I'm not sure if there's really the appetite at the majors to produce something like this. They're not really geared up for these kind of projects and the numbers probably won't make much sense to a major [[even though they wouldn't have to licence anything in). The biggest problem would be the inter-company costs in tape retrieval, baking, digital transfers, transportation, administration and legal costs. Add all that lot up and the probable 18 months to 2 years it would take to organise everything for 'specialist' sales at best and you can maybe see that it's not such an attractive proposition for a major these days.

Harmless had numerous problems shepherding the PIR/Moulton project through to release and it was a huge physical and emotional drain for all involved. Happily this one worked out probably because Demon control PIR for Europe and we have a good relationship with PIR and Sony but even given all these advantages, this was not an easy project by any means.

If I thought Harmless could get access to the Motown masters and Universal wouldn't price it out of the market, then I'd do it in a second and I'm pretty sure Tom would too!

Where's Harry Weinger when I need him! :confused:

Who knows? Maybe the success of 'Philadelphia International Classics: The Tom Moulton Remixes' will encourage more projects of this nature. I certainly hope so. Moulton would be perfect for a Motown package!

Ian D :D

I hope so too....I ordered the Remix package yesterday on the strength of Paul's recommendation - looking forward to it..

Record of the year so far!
Love the Teddy, Lou, Jean and Jones Girls mixes, but really everything is great!

Ian - welcome to the Forum! It's good to hear your comments. The Tom Moulton Philly Remix set has had a great response from enthusiasts and some great reviews too. It was obviously a major project for you. I'd be very interested to hear your opinion on the reaction and sales figures so far. Has it met your expectations? Bearing in mind all we hear about the CD market etc, do you and Demon consider it a success commercially?

Hi Guys, Thanks for the compliments. A good chunk of my life went into this project and until its release we didn't know if it would happen or not [[good ole Politics) I don't give a dam about the politics I Only Care about The MUSIC! and working on those songs that have meant so much to me was a Thrill and an Honor. Now that I have been away from the focus & intensity of it I can listen to them and enjoy them without listening to them objectively. We all worked so hard on making this happen. Ian and Reid were taking care of the business side of it and I had to listen to daily updates about its going to happen and its not going to happen and trying to mix songs under those conditions really started to get to me. Both of them were trying to take care of everything else from Artwork,the packaging,Liner notes and all the POLITICS. I finally just had to block it all out and just go into my world and do the best I could. When it was finished Kenny had to make a phone call to remove the stop sign and the Project was finally released. Moving on to Diana Ross. I mixed Love Hangover for a young guy who was a Supremes freak who worked at Motown. He wanted the Ultimate Diva record and I wanted to do it. They were going to issue it back them and it was too long and they asked me to make it shorter and I wouldn't do it. When you start chopping a mix like that down you take the ULTIMATE out of it and I wasn't sure if the guy who asked me to do it would get insulted. Harry had called me a couple months ago and was going to use it on a Diana Ross package and by the time it was decided on we missed the deadline. I know a lot of people were disappointed because I had mentioned that it was coming out on that package. As for doing a Motown project I think it would be great for Demon to do it. They would get behind it and treat it with the Respect it deserves. They seem to Respect The Philadelphia and Detroit Sound across the Pond more then we do over here. Part of the reason I never tried to go after a Motown project was several songs Girl You Need A Change Of Mind,Going Up In Smoke,The Whole World Is a Stage and You Got To Pay The Price they can't find or don't have the multi-tracks on them. I can't imagine a project without those great songs. You talk about songs that inspire somebody!!!!!

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Originally Posted by alanh

Ian - welcome to the Forum! It's good to hear your comments. The Tom Moulton Philly Remix set has had a great response from enthusiasts and some great reviews too. It was obviously a major project for you. I'd be very interested to hear your opinion on the reaction and sales figures so far. Has it met your expectations? Bearing in mind all we hear about the CD market etc, do you and Demon consider it a success commercially?

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Hi Alan,

In short, yes. This album has been the fastest-selling album I've had since the Mastercuts releases in the early 1990's. Phenomenal advance orders meant it entered the UK main compilation chart @ No.21 amidst a sea of TV advertised comps and 'supermarket campaigned' releases which took up much of the rest of the Top 200. In real terms we've already outsold what a normal Harmless release would sell in a year in just under 3 weeks, so yes, I'm deliriously happy right now. I'm also extremely happy for Tom and Kenny, Leon and Phil @ Philadelphia International. The stars all aligned on this release for sure!

Ian D ;)

Hi Tom, those last 2 songs you mention are not Motown songs! :)

Strictly speaking Tom is right they come under the Motown umbrella and have neen released by the label - so Tom is 100 per cent correct in his statement.

Ian - thanks for the reply and info. That's good and pleasing to hear. Well deserved success for a great project!

Tom - apologies if this is a silly question but.........back in the seventies, remixes/12" versions you created were for the dancefloor. Today, I know that you're still asked to take on tracks and create 'dance' mixes, but when approaching a special project like this Philly set, did you still create it with a prime focus on dance or was it to create something that's good to listen to?

I never made a disco record. I have always mixed music to listen to and if it was uptempo. I have always said I don't make disco music. I make music you can also dance to.

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Originally Posted by tom_moulton

I have always said I don't make disco music. I make music you can also dance to.

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I don't dance, but I have always enjoyed your classic original mixes. Tell me, though, what is the difference? If you were to mix a disco record, how would your approach me different from what you do now?

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Originally Posted by tom_moulton

I never made a disco record. I have always mixed music to listen to and if it was uptempo. I have always said I don't make disco music. I make music you can also dance to.

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That reminds me many musical discussions with friends, specially in my teens in the 70's - first 80's. Here in Spain there was a mass opinion by public and music criticals who divided music in "progressive rock" on a side and "commercial music" [[in negative sense) on another. For these people ALL WAS DISCO MUSIC [[except folk, rock, jazz and classical) or simply "dance music". I usually stated that I don't dance, I HEARD music. Take for example The Blue Danubian Vals. It's for dance only...? Take for example also "Tico-tico" by Charlie Parker... Is also "dance music"...? They don't understand that a mid-tempo - uptempo with interesting lyrics, great vocals, great orchestrated arrangements, innovative production CAN BE HEARD. I never think, when I heard "Love Is The Message" LP [[with the gem "Bittersweet") I'm "herding music conceived for the dance floor". Bobby Martin, Vincent Montana Junior, etc. are jazz musicians. Norman Harris is another JAZZ musician [[remember that he and Ronnie Baker were in the Catalyst combo on Muse Records). As one additional value, you can enjoy the lyrics, the energy, the great vocals on "This Air I Breath"... and if you wanna dance, DANCE!! What is the "problem" for these stupid "intellectual" [[hahahahaha!!, excuse-me) "music lovers"??

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Originally Posted by tom_moulton

I never made a disco record. I have always mixed music to listen to and if it was uptempo. I have always said I don't make disco music. I make music you can also dance to.

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Would it be correct then to say a distinction of your style from other record remixers , who were almost all themselves club DJs , was that their remixes were mainly aimed at making the DJ sound better, while your intent was to make the music sound better?

Most DJ mixers today make club records. They have numerous breaks and drops and its not meant to flow as a listening record. They are made to create excitement on the dance floor. I like to make something sound as good as I can make it and polish it up and let it have it builds and level off. Music to me has to flow and go somewhere I don't like some of these things I hear that start somewhere and stays there. That is my opinion.

Tom: we all enjoy and appreciate your posts on this forum. Thank you for participating. It's what makes this forum so special.

I enjoy being a member of this forum. I learn a lot of things here that I am interested in and also when I have something to share I will post my opinion.

Tom, can I ask you a question about a track you used on the 'Philly ReGrooved -- T.M. Remixes' CD.
Its track 5 :- Nat Turner [[featuring Major Harris) - Ruby Lee [[orig Philly Groove 171 issued in 1972)

I have this song but it's credited just to Major Harris. His version was cut for WMOT [[& released by Atlantic) & my version came off the Major Harris 'Jealousy' LP [[1976).

I only have your remix of the Philly Groove version [[I think); can you recall if there is much difference between the original Philly Groove version & the WMOT version.
Do you know why Major H decided to cut the song again [[& in a very similar style) ??

.... Bump ....

Well Tom there's no doubt in my mind that you do just that....

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Originally Posted by tom_moulton

Most DJ mixers today make club records. They have numerous breaks and drops and its not meant to flow as a listening record. They are made to create excitement on the dance floor. I like to make something sound as good as I can make it and polish it up and let it have it builds and level off. Music to me has to flow and go somewhere I don't like some of these things I hear that start somewhere and stays there. That is my opinion.

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I've had this set for a while, but just sat down today to read the booklet that came with it. Tom's story is very interesting. He invented the 12" single and the disco break. I remember when dee-jays were buying 45's two at a time so that they could extend the music. Some of them did not do it well.

This CD collection is my favorite release of the year. It has some of my favorites songs on it and the remixes are new, fresh and better than the original, but without taking anything away from the original. In fact, I have a favorites play list and I have replaced some of the original songs with the remixes on this CD. Usually, I am not a fan of remixes, listen to them a few times and then go back to the original. This CD set is the exception.

I've been deeply checking out "The Love I Lost" , "I Don't Love You Anymore " and "Knights Over Egypt". Magnificent view into the deep parts of the original mixes. They are so set in the mind that you mentally play them along with Tom's remixes to see where the edits are or hear deep parts he puts up front , they are finally up in your face. Especially the string and guitar parts.
On Teddy's vocal's , the edits and blends are just as Teddy might have done them live at a show. All this history from the original master multis, thats whats important.
ALL i can say is "Damn TOM ,, thank you...