Customer Reviews

Adapt Or Die: 10 Years of Remixes (Dig)

5 star:		(12)
4 star:		(5)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

Adapt Or Die is a compilation of recordings made over the last 10 years (although there are some tracks older than that on here?). For longtime followers of EBTG, this is a welcome gift from the understandably reclusive group (made up principally of vocalist Tracy Thorn and husband/producer Ben Watt); they are new parents, and have made the rare decision to tether themselves to family first, and let their musical momentum subordinate. Refreshing indeed.

I've been anticipating this album since they mentioned it on their fan site some number of months ago (yes, I'm that big of an EBTG psycho, keep that in mind when I get a bit course here soon), I have great respect for Ben Watt's musical talent. I was certain he'd shepard a world-class mix. Well, after a few listens, this certainly isn't that. It's an "ok" mix. There are, in my opinion, only a couple of songs that are better than their original productions (Corcovado, and Mirrorball). Then there are a handful of songs that'll freshen-up interest in the EBTG playlist, but regrettably, not for long.

However, there are some unbelievable stinkers on this CD. I couldn't believe how bad the Tempermental remix is. It's...well, listen to it yourself before you get all worked up. It sounds like they forced Tracy by gunpoint to do a cover for that weird costume scene in Eyes Wide Shut. Disturbing. Also, the remix for Single is like...well, it's like the same song, only with some kind of Casio-watch-style beeping in the background. Maybe some people, like fans of Casio watches will be like "wow, some beeping at intervals, just what this track needed". I however am offended by what I consider needless tampering.

Which should be the title of this CD: Needless Tampering With Perfection. But that wouldn't move many units would it?

I'm obviously dissapointed. If you care to look up my reviews, you'll see that I'm a consistent 5 star reviewer of EBTG, I'm always the one strongly advising you to go buy the album. This time however, I can't in good conscience advise you to do anything but steer clear.

Sadly,

Christian Hunter
Santa Barbara, California

It's very disappointing that EBTG has taken a hiatus from the studio, even if they do have the best reasons for it. Their work has a charm and an honest beauty that's all too rare in our contemporary visual pop world. Despite Ben and Tracy's committment to raise children who don't resemble the messed up offspring of so many other music celebrities in the world, it seems they've taken sympathy and delivered a fresh interpretation of their career to starving EBTG fans everywhere.

Adapt or Die is an absolutely astounding record. I always, always open a fresh EBTG record with the highest expectations, whether it's fresh studio work, live material, or remixes. This album is so good I would argue that several of the tracks presented are even better than their original mixings. "Lullaby of Clubland" was easily the weakest track on the most recent "Tempramental,": the remix here however is amazing; almost orchestral. The song is still recognizable, but the heavier beat along with the light guitar synths and piano dubs add a fleshed out, emotional and smooth sound that simply wasn't there before. It's easily one of my 3 favorite tracks on the CD simply because it's so improved from its original mix.

The tracks on "Adapt" are so consistently good its rediculous. My absolute favorite track is the DJ Jazzy "Sole Full" remix of "Mirrorball." Again, the backing melody is drastically changed from the original, now featuring piano arpeggiation and a slightly quickened sound. The overall sound is both remarkable and familiar. Even the club-abused "Missing" sounds unique enough to be interesting, with different synth sounds and different bridge placement throughout the track. There are only 2 tracks that I have the exact mix to, and those are the "Driving" acoustic mix (see "EBTG Acoustic," great album) and the Adam F. Remix of "Before Today" which was featured on the "Urbal Beats Vol. 1" compilation (one of my favorite EBTG remixes). Every other mix is new to me, and 3 of the songs were remixed in 2004 making it unlikely you've heard them before.

"Adapt or Die" stands to be the best remix album for the 05' summer and beyond. It's the only CD I've been listening to for the past couple days and I've already played it through at least a dozen times with no end in sight. Adapt is a reminder of how important and unique EBTG is, and how much they will be missed...

(Until the kids grow up!!)

I've long been a fan of EBTG's remixes... Tracy Thorn's vocals float seductive and ethereal over Ben Watt's-- and other remixers'-- electro-beats. With this new collection, it's nice, for one, to have the remixes in one place. Most often this also means the collector gets shortchanged since s/he already has everything but one or two tracks on the new collection. "Adapt or Die" bucks this trend like a buzzing fly, with a collection of largely unreleased or extremely hard-to-find remixes. 4 tracks are brand new--including a great rework of "Mirrorball"--others are rare or previously unreleased on CD. (Most fans, like me, will have two to four tracks in their collection.) More than anything, "Adapt or Die" shows that, despite some time off, EBTG is still very much in the game, straddling that divide between pop and electronica, between accessibility and credibility, and doing a bang up job of it.

I had low expectatins on this. The same old thing, endless remixes. Oh so glad I was wrong! The cd is wonderful. Each song sounding fresh and new and very different from the original recordings. The opener (my favorite ) "Mirrorball". The Jazy Jeff remix making this radient. All the selections are wonderful. This has never left my cd player (or computer) since I purchased this. The remix for "Missing" even better.

I don't know when (or if ever) Tracy will return to singing. Her alto is sorely missed. This cd brings it all back.

Ben Watt and Tracey Thorn are living legends. Not since Dave Stewart and Annie Lennox were at their peak as Eurythmics has there been a stylish British duo whose music combines solid producing and songwriting skills with the spell cast by a vocalist of great individuality and power. Furthermore, at a moment in Everything But the Girl's history when most bands would have gone under or - even worse - become a living fossil imprisoned forever within the mausoleum of Adult Contemporary, EBTG chose to adapt rather than die, and along the way became one of the most widely respected and influential bands in the business. Until 1995, EBTG were no more than a cult band, known for their jazzy stylings and nostalgic evocation of a pre-rock era atmosphere of trenchcoats, Left Bank cafes and Nouvelle Vague hip (Ben Watt and Tracey Thorn are nothing if not living examples of cool hipster Euro-chic at its best). After gaining a lot of critical attention during the mid-to-late '80's jazz-pop revival, and scoring their first top 10 UK hit (a cover of Rod Stewart's "I Don't Want To Talk About It") in 1988, EBTG made the shark-jumping decision to go for US radio success. Their first album under their deal with Atlantic records (1990's "The Language of Life") remains their only major misstep, abandoning their customary sleek jazzy stylings in favor of necrotic midtempos a la Burt Bachrach and Carole Bayer Sager. Despite some airplay on the kind of radio stations targeted at suburban housewives, the record managed to alienate their older fans and wasn't particularly memorable to boot. Then, Ben Watt developed a rare bone-marrow disease and nearly died. Tracey Thorn's voice fell silent as EBTG took a hiatus which many fans feared permanent. Fortunately, 1994 brought us the deeply felt "Amplified Heart," a collection of stripped-down folk numbers which suggested a return to the fundamental roots of popular music-making (a few good songs, a great vocalist and perfect guitar play) and a fresh start. In 1995, fate intervened. A chance introduction and a newly-recovered Ben Watt's developing interest in electronic music led EBTG to producer Todd Terry's studio and a remix of an "Amplified Heart" track called "Missing." The house beats and the emotions were equally deep, and the song was an instant classic. Perhaps not since Bob Dylan abandoned his acoustic and plugged in his electric had an artist changed styles so abruptly. Overnight, EBTG went from being a little-known cult band to massive worldwide success. What could they do for an encore? And how to avoid the accusations of "selling out?" Miraculously, their follow-up record, 1996's "Walking Wounded" demonstrated Watt's new mastery of ambient and deep house chords, which - combined with Thorn's sensuous-yet-chilly-alto and the duo's basic songwriting skill - made for a powerful set and international hits like "Wrong" and "Mirrorball." EBTG had accomplished something few acts in the music business have managed to do - they changed their musical style, became worldwide successes and attracted a horde of new followers without alienating their old fans or losing critical acclaim in the process. Amazing! Although the group has been on hiatus since 1999's smash hit set, "Temperamental," Ben Watt's work as a DJ, producer and promoter has kept them current, and this remix set makes a beautiful stopgap until the long-awaited day arrives when Ben and Tracey return to the studio together. "Adapt or Die" might be subtitled. "The EBTG Story," for it demonstrates the reason for their successful transformation into an electronic act with soul. The songs here (aside from the now-inevitable "Missing" and the great "Corcovado") mostly come from "Walking Wounded" and "Temperamental," so longtime fans won't find any surprises here. The marvelous thing about this record is how fresh the songs still sound today ("Walking Wounded" is now 10 years old after all) and how relevant. Each remix puts Thorn's amazing voice front and center and never forgets (with one unfortunate exception) what makes every track click in the first place. This is first-class electronica, equally suitable to chill to or to dance to, with just the right balance between technology and soul. Highlights of this set are a gorgeous version of "Corcovado" which is impossible not to dance to, a stunning reinterpretation of "Five Fathom" and Kenny Dope's electro-jazz reimagining of "Downhill Racer." There is only one clunker on this set - an unfortunate remix of "Temperamental" which sounds like a funeral dirge and ought to have been erased the next day. Just skip over that one and let the rest of this gorgeous record flow over your spirit. For those of us wondering what EBTG will do for their next record, now that modern dance music is bigger than ever and electro-clash has come and gone, "Adapt or Die" is a great preview of coming attractions.

Everything but the girl has never sounded so good... truly awesome remixes, if you like good modern mixing talent coupled with oldies but goodies. I especially recommend Corcovado, which I think is unlike any other I've heard before... Beautiful voice, great sounds, and a pleasant flow from song to song. A highly recommended chillout CD...

This is a really cool laidback remix project from Everything But The Girl. I, unlike a lot of reviewers, did not own any previous albums of theirs. I basically knew EBTG from the song 'Missing' which is an absolutely beautiful classic song.

That said, the rest of the album is somewhere in the middle of downbeat/ dance/ house music. It showcases the lead singer's great sexy smooth voice - she's better than Dido!

The songs don't sound as if they've been done over a 10 year period - they all sound pretty modern. They definitely don't sound too dated.

Overall, this is great stuff even if you're not familiar with original CD's. Good late-night listening.

Dig their sound lots any way, any time, any place....sure some of the music sounds much, much different than the originals but I like the fact that it has evolved into an almost different form in which to enjoy one of my favorite songs/bands/female vocalists. There are very few of EBTG's cd's which I find uninteresting or uninspiring & this is not one of those....I believe they are an incredible talent in a category of their own with a unique sound, lyrics, style and approach which whether mixed or not can not really diminish the fact that most of their stuff if great to listen to over and over and over again and they essentially remain a timeless good listen. This CD included!

If nothing else, EBTG win this year's Truth In Advertising Award by calling this collection "Adapt or Die." For years they recorded album after album of wonderfully melodic adult lite/pop/jazz and were marginally successful in America ( but critics' darlings in the UK ) until they (or maybe their record company) had techno guru Todd Terry remix the single "Missing" into a major pop/dance/club hit. What came next were two fantastic albums that were totally electronic, quite listenable and user friendly , considering the electronica hype that swept the US at the time . As a fan of the Thorn/Watt songwriting team I can assure the potention buyer that this collection of remixes will thrill and delight those who adore the thump of four on the floor club music as well as those who prefer more laid back grooves.Everything is here, from trip hop to hi-nrgy. This is the rare remix album that is not just a stop-gap, a throw away or a "wait til we write more songs" collection. Five stars , absolutely.

Years of earing this songs, and now, years after the first gift from my little sister, I found amazings and totally new sounds in this beautyfull disc.
Corcovado is a renewed house version and many sorprises.
New clicks and cuts sound's in many versions, and the pleasure of Tracie Thorn voice, no matters how much you eared, you found a new sensations each time you play it