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NRM015 | 2017-08-18  
Back in 1998, the The Jive EP was released on the classic Earthtones Recordings (now Seasons Recording), resulting in worldwide support from DJ's, exclusive features in publications like DJ and Mixmag, heavy chart action and repeated play in clubs to this day. The Jive EP was built for the times yet still stands up to the ages. Crafted with one sampler, one drum machine, a simple sequencer and mixer with effects The Jive EP has continually been played for 19 years and is recognized as their biggest record of all time. Now, in celebration of this legacy Natural Rhythm reached out to some of their most talented friends for remixes of their greatest work. Phil Weeks from Paris, Hector Moralez from Spain, Jason Hodges from Toronto and John Mörk from Chicago, and Natural Rhythm themselves all turned in 2017 remixes of The Jive. Each of these artists interpreted the classic tune in his signature way, bringing serious heat to each remix.

Phil Weeks went deep into his MPC sampler to flip the samples into a super funky arrangement, starting with a tribute to the classic grove but with a wonderful change up right in the middle, building new excitement and energy into the back half of the mix. Hector Moralez forms layers on layers of tones, all edited and effected while being placed gracefully over a seriously deep bassline for a truly head spinning version that will resonate with full dancefloors. Jason Hodges brings the SP-1200 grit and grime to his super dirty mix, working with a stomping beat arrangement, devastating bassline and hypnotic pulsing atmosphere driving the mix forward with a focused message coming from the vocal samples. John Mörk took a more stripped down in tempo but
upping the funk approach, completely rebuilding a groove that fits with the classic 'We want to be free' vocal samples for a funk soul killer. Natural Rhythm bring their own heat with a remix and dub paying tribute to the original, but bringing updated beat arrangements, edits and bass elements to their most classic song.

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