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12” Vinyl ( FLUENT7 ) »
Sandy's Ex-Out Remix
Tough industrial beats pave the way for a trumpet loop to be filtered in to the middle of the mix. Sandy Rivera adds a range of effects and samples to produce gelling noise. Breakdowns consist of a removal of the trumpet and noise, while D'Layna voice is pushed to the front
Mazi's Audio Soul Revamp
Vocal snippets are arranged amongst a range of bass drums and croak-like snare noises. D'Layna's twisted words are treated to equalisation and echo. Mazi brings in a low frequency effect to fill out the bottom of the mix, which he also does with a murky synthesiser harmony, which becomes louder as the track progresses. Swirling pads enter the fray to offset the vocalist. Everything is taken down while D'Layna solos. Mazi reintroduces all the channels again as the track appears to reinvent itself towards its end. An interesting beats driven track with moody keys to fuse the vocal and break together.
Freddie Turner's Classic Mix
Hollow tribally drums are quickly followed by a stock bass drum in this mix. Some warm organ notes are added, as is a low, dubby quiet piano chord underneath. D'Layna's vocals are then almost whispered over the keys alone. She breaks into the verses wherein Freddy places a restricted bubbling piano bassline under the percussion. A piano bridge provides a different platform for D'Layna's vocals, then all the channels are brought up to volume.
Ian Pooley's Main Mix
Ian Pooley selects quiet kick drums and a quirky percussion loop for his mix. Cut and pasted vocal snippets are replaced by flowing choruses. Summery Latin organ chords, combined with violins provide a more blissed out mix. Personally, I think this mix is much more suited to terrace mixes than a club environment because Ian has placed the emphasis on a two note piano sample and some
Freddie Turner's Ex-Mix
A brash break encompasses some plodding bass. Turner filters in a different trumpet loop as well as some simple vocal one liners. This mix develops a groove which is led by a two tone trumpet snatch, on top of which is placed D'Layna's telephonised vocals. A little bit too boring for my liking, and the key-change which Freddie gives to the trumpets seem odd, although it does give this mix an undeveloped feel.
Sandy's Showcase Mix
The same bass which is used on his Ex-Out Mix is utilised here too.
Ian Pooley's Dub
From its filtered beginnings, this mix has a staple cymbal-orientated percussion loop and a crunchy kick drum combination and some quiet distorted Disney flute samples. The trumpet is fused with a male voice mirroring the instrument's notes and then the vocals are added. The bass drums are very noticiable and the trumpet are slightly blurred in sound.
Mazi's Audio Soul Dub
This is undoubtedly a speedy groove with clear bass drums. Mazi layers another drum to the percussion loop as he builds the song step by step. Electro noises are just as quickly removed from the front of the mix as they are added. A synth riff becomes prominent, as do similar organ pads to the vocal mix.
This is the whole of D'Layna's vocal as lifted from the Original Mix. Her voice is crisp but has a slight nasal sound to it. The vocal starts fairly quiet but it builds towards the chorus. Include
---> Additional Remix, Source Unknown
“ You've Been On My Mind ” is an enjoyable mellower Fluential track. Soul Vision plump for a tight drum loop for the low and high frequencies. The middle frequencies consist of a jazzy three note trumpet sound, some quiet organ notes and almost spoken “You've been on my mind,” lyrics, sung by D'Lanya. This is undoubtedly a quality, smooth Soul Vision release.
King Unique Dub
King Unique's almost vocalless mix has a feisty percussion loop. The trumpet sound is faster and more prominent, making this dub more a club track. King Unique plunge everything into the depts before crystalling and increasing the volume of all the channels in order for the song to continue. D'Layna is sampled whooping whilst the trumpet is paused midway through the breakdown. This mix of “ You've Been My Mind ” loses the edge gained from having the background vocal helping the track along. It would work well with another acapella, however, and so in that sense, the dub is more suited to being a DJ tool.