Mr. Morse brings us our first mix from Billy and Jimmy Lee's third adventure. While the Bad Dudes were busy being bad enough to save the president, Hammer and Spike were still plowing through an extended plotline that frankly, after smashing fifty-thousand multi-colored abobos to a bloody, malformed pulp, some of us lost track of. Never fear, however, because Joshua is here with a refresher, featuring some groovetastic sequencing with a tight beat and pentatonic riffage aplenty, comparable to aspects of Palpable's fairly recent Mystical Ninja ReMix. You've got a plucked koto-style timbre covering melody, some clean pizzicato style backing rhythmic goings on, pads, wah-guitar funkiness, deep, warm bass that keeps things moving and swaps between shorter, punctuated hits and sustained notes, and piano that gets a slick jazz solo spotlight in the third minute and then counterpoints the koto. Brandon summarized the general panel vibe and my own feelings as well:
"The first thing that strikes right off the bat is the pretty disparate sound quality of the samples. The funky wah guitar, the phat bass, the clean and subdued rhodes and the warm piano are all very nice and mesh well. But then there’s the classical guitar, the pizz strings and the koto that are not below the bar, but are close to it. However, Joshua has done a heck of a job sequencing and layering these dubious elements into a very fun jam-like piece. The chorus sections a la :40 are slick indeed. Some creative processing, such as a phaser or a little wah on the koto during its leads might have taken some of the edge off but as-is, it does a sufficient job of carrying the piece."
Jesse actually changed his vote of his own accord after listening a couple times. I'll agree that the koto is a little out of place as it's a bit loud, mixed dry, and not of the sonic calibre the rest of the elements display (some judges apparently thought it even sounded like a banjo...), but the sequencing definitely compensates with quick, articulate passages, and when you add the very tasteful, enjoyable piano solo on top of that, it's the business. Good stuff from JM; some of the tightest stuff I've heard from him, groovetastic, fun and intricate at the same time.
on 2012-03-30 13:38:46
This is an interesting mix, listening to it did get me chair dancing. It's fun, and has an Asian +70's vibe
on 2010-12-10 15:12:50
this is what the Brothers Dragon chillax to, imaginably. Great work!!
on 2009-03-18 11:26:53
Though it needs some velocity love, and can be pretty mechanical in spots, I am really feeling this one overall. I know JM has a high standard set, and while this isn't as funky or nuanced as some of his other stuff, it's still fantastic. There's great counterpoint set, and the whole mix has a great rolling quality to it. Add some great sounding drums, and i'd call this mix a total success. The koto is played almost like a lead clav, and works in it's function. It's not traditional by any means, but it's effective.
The piano solo was very good, tasteful and melodic. It almost could have used a larger flourish at the end.
I happily welcome this mix to my playlist with open arms.
on 2006-10-29 16:20:23
I have to say that this remixer rocks for remixing this game. In direct comparison with the source material from the "China" stage, I have disagree with the review panel on their thoughts on the zheng or koto sample. In the source material, the electronic bastardization of Chinese a flute is loud and too crisp over the other sounds. Contrasting to this, the remixer gives the lead a drier, almost washed out, zheng sound sound for the lead. This is excellent as it better embodies the location of the stage for two reasons: the zheng is a traditional Chinese instrument and its toned down presentation (in comparison to the other instruments) can be interpreted as a representation of traditional Chinese ideas being more toned down in comparison to Western ideas. Additionally, on its moving parts, 0:40-1:06 and 1:34-2:00, the zheng is given an electronic component. In response to the "banjo"-ness, I think that it makse it even better! Simply because it evokes that late 19th century out west feel during which Chinese immigrants toiled to complete the Transcontinental Railroad. Connections and choices such as these, whether intentional or not, is what makes listening to remixes so great. The original game basically used the stereotype asian sounds just to provide another locale to kick ass at. This remixer has taken music that was intended as background area-recognition noise for a sub-plot beat 'em up and turned it into something that could be played for and enjoyed by non-gamers. On top of that, the remixer has interlaced some 70's funk which manages to translate and instill the idea that this song was meant for a fun purpose. In accomplishing all of this, I say this is worth all 5 stars and more!
on 2005-06-10 12:04:20
Nice remix! Great to listen to on a warm sunny day when you're cooped up in your room working on Monday's history report. Great beat and an excellent sense of jam, and of course, groove.
on 2005-06-10 01:11:47
The koto is fake-ish, but it really doesn't matter much for this style of music. Upbeat through and through, and the piano solo is the highlight here. I would agree that the ending is too abrupt, it's like a 'stage clear' sort of thing.
on 2005-05-25 23:20:20
The piano solo was kickass. The rest was meh.
on 2005-05-20 03:06:19
Well done. Very groovy.
All the funk tracks from the overclocked remixers are generally awesome. The last minute starting where the piano comes in is my favorite. I don't like the abruptness of the ending, but that's sort of trivial.
on 2005-05-15 00:15:25
The japanese funk is good. I liked alot.
This thing will stay on my playlist for a long while..
on 2005-05-14 18:50:53
I'm not partial on the koto as well, but the song is rather funkafied.
on 2005-05-14 15:44:13
to avoid being too negative,
not such a fan of this mix. joshua can do much better.
that bass sucks,
the piano part is to rigid,
pizz strings are a little too fake.
there is nearly no variation in rhythm,
the song stays in the same method for way too long.
repeat listens are not going to happen with this one for me.
Come on Joshua, you can do much better.
on 2005-05-13 21:02:37
There we go. That's how pop/jazz is done. I call it "jazz" because it has an element of tonal freedom that lands it just this side of unpredictable. I call it "pop" because it still retains enough melody for easy listening. This song will lead me to this remixer's other work. He's obviously a master of weaving subtle touches into a professional-grade tapestry. The koto sample is a bit rough around the edges, but it fill the staccato runs well enough.
on 2005-05-13 16:54:58
on 2005-05-13 16:33:35
This pleases me. 'Repeat' will be an abused winamp function for a while.
on 2005-05-13 16:01:07
Sweet! I especially like what you have going on at the end. I almost wish those layers came in sooner, for optimal toe-tapping.
Sources Arranged (1 Song)
- Primary Game:
Double Dragon III: The Sacred Stones (Acclaim, 1990, NES)
Music by Akira Inoue, Michiya Hirasawa, Takaro Nozaki, Yoshihiro Kameoka
- "In Japan"
- Electronic, Koto, Piano
- Regional > Japanese
- 5,366,425 bytes
- Size: 5,366,425 bytes
- MD5 Checksum: d526738f91afe4e64d4a523d9c6d9022
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