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I so agree. Beautiful truly is a beautiful song with a beautiful message.🙂

@@julioalejomedina5857 💃🕺🫶🙂

@@thombland6135 of course.💃🕺 Thank you.

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Thanks! what a powerful song , has everything

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Unfortunately I do not have copies of them to post. Thanks for listening 💃🪩🕺

Oooh Yeaaah! 💃🕺

@@alejandrobojorquez6181 And the lyrics mean even more now than they did then. 💃🕺

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@@sergelenart5746 🪩👏😊

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@@JimMember thank you! 🎧

I’ve been listening to this all this past week! 🎧

I’m with you on that!

@@user-ms9wg8ki5s welcome! I don’t get enough listeners down there 🎧

@@MigsDances well that surprises me 🙄

I love Alisha ! 🎧

Short comment - it depends on your definition of remix. Long comment - 1988 there was no way to create new versions of songs with totally different production. It’s not something that would have even been considered. The common idea of a remix these days is to take an existing song, strip away the original music, and replace it with sometimes totally different music that tries to appeal to modern tastes. Even if this had been possible then it would probably have been considered some kind of cover at best. Or at worst an insult to the artists by throwing away the music they had so carefully crafted and produced. Joseph wants his mixes to be recognized as extended versions. The philosophy of Razormaid is to restructure existing songs so that they will be easier for DJs to work with. If it isn’t in the original song, or additional music for the song provided by the labels directly, it is not added. The labels and artists are provided a copy of his version for approval before it is released. There are notorious remixes that have been rejected (once with death threats!) because they strayed too far from the artist’s original intent. Razormaid is about restructuring with DJs in mind, not totally new production. Zoom meetings with Joseph can be very informative but also very long winded. 😉

@@MigsDances Absolutely agree, and I'm certainly not ignoring the intent of versions created by DJ remix services in the 80s/90s such as Razormaid. I know it was a rarity back then to receive any kind of multitrack master from the artist/label, so those versions would literally be cut (razor-made!) together from whatever sources they had. For instance, knowing the officially-released mixes of "Control I'm Here", I can easily listen to the version posted here and tell which mix various parts are taken from. Obviously there was some 'mixing' involved for the final output, so you could technically call it a remix from that perspective I suppose. But for the most part, at least in those analogue production days, they were limited to editing/looping from existing mixes, sometimes with a little additional production such as overdubbed drum loops/fills when it became easier to do with cheap samplers in the early 1990s. Probably how that Enya sample magically made it into the Razormaid mix of Depeche Mode's "Sea Of Sin", hehe. 😉 I think Joseph probably got upset that time because he took me as being dismissive of the creativity, time and effort that people like himself and Art put into their versions - which I absolutely wasn't. And for people who consider some Razormaid mixes to be their favourite versions, I don't knock that at all. I much prefer old-school extended mixes to some of the bizarre stuff that gets put out and called a remix nowadays.

Estoy completamente de acuerdo. ¡Gracias!