After stumbling across your site during a google search I found myself being a bit suprised and flattered by your URL (I will touch on that later), But I couldn’t help but think that your comments about this project sounded a bit extreme and misinformed
(or is that the current preferred method of bringing new readers to one’s site these days?)
Whatever the case, I have a lengthy and hopefully informative reply to your question/complaint.

I don’t believe that the objective of the labels or producers with these “remixed” projects is to make the songs “better” (although I would agree that some remixers make them sound worse, which is so pointless).

With that said, maybe I should point out that back in the early years of Motown, many of the songs on the label were “remixed” by the Motown producers themselves. Songs like “I Heard it Through The Grapevine” and many others were covered (the precursor to remixing) by several Motown acts all in an effort maximize the exposure and potential audience for a song.

Who was the first to record the big hit song
“I Want You Back”? The Jackson 5 ? Nope.
Actually, it was David Ruffin (of The Temptations). Mysteriously, that version was only just released this year on his never released 2nd album, after over 30 years “lost” in the Motown vaults.

Can one say that Gladys Knight & The Pips’ version of “I Heard It Through the Grapevine” is better than Marvin Gaye’s “original” version?
Well, they both went to number 1 on the charts (in 1965 and 1968) and have milions of fans that love both versions (and other covers of it as well).

As a composer/producer who does remixes, I respect the sensitivity people feel towards songs they know and love (or hate).
In some ways, it’s way more challenging to remix something you love since you want to preserve the memory of the original, where as something you don’t love makes it easier to take on the mindset of “making it better”, or at least more attractive or danceable.

It all depends on the production style of the remixer.
Some have a distinct sound that dominates the mix since they take out most of the original content and build new music around a vocal, while others are more subtle and respectful of the song and just enhance the original production with new EQ and edits to extend certain sections of the song.

I think you will find those two approaches (and others) on this project. I won’t attempt to defend every remix on the album since I must admit, there are a couple I really don’t care for, but overall, I think it’s a good idea to dust of these jewels and add a little polish.
Besides, the originals will live on in our memories (and music collections) forever, but it’s kind of interesting to have a different approach to them as well.

Also, the original songwriters and artists love the idea of young producers reinterpreting their music (as long as they are getting paid, of course).
I know first hand since I recently had the honor of meeting a few of my idols like Norman Whitfield (producer and writer for The Jackson 5, The Temptations, Undisputed Truth, Rose Royce)
The Holland Brothers (of Holland Dozier Holland fame- song writers and producers for The Supremes, Four Tops, Smokey Robinson) and Gamble & Huff (Philadelphia International founders producers and writers) who all seem to be getting a kick out of being “Remixed”..atleast that’s what they told me.)

By the way, the Motown “Unmixed”
version, which contains all of the songs in their “original” state will be released this week as well (for people like yourself who accept no substitutes:)
So, lighten up.

sincerely,

Smash Hunter aka DJ Smash remixer
of Stevie Wonder’s “Signed Sealed Delivered” featured on “Motown Remixed”,
founder and producer of Jazz Not Jazz Massive
(EightBall Records 1990 and New Breed Records
1991-1997)