Yeah, I can't deny Richard's contribution to the actual song itself. He may as well be credited as a featuring artist given how much he worked on building it.Kes wrote: ↑Thu Jan 20, 2022 10:58 am There's enough versions of YDFM, you could make an entire album of them. There's an exclusive one on the Italian 12", there's the ones on the USA 12", including a couple by Freddie Bastone (who did the Hollywood remix of SSOR), there's an edited single version that was on an EMI promo CD collection, at the time. There's the versions on the orange 12" EMI promo.
Contrary to Didy's perspective, i find the David Richards' Late Mix, as the only one I really ever play. This might seem a bit odd to him, but the track probably wouldn't exist in any released form, but for his work on the original version.
At the end of the day, opinions are like arseholes, we all have one, and they're all different. Some remixes click with us, some don't, some are works of art, and some are unlistenable. But the person doing them thinks they've brought something to the party, whatever WE think.
But I just find his Late Mix it to be a cacophony of noise. All those extra layers and samples of other recordings feel obtrusive, while at the same time it doesn't really go anywhere new with the song. And as I say, some of them feel terribly out of sync with one another. Still, it's a LOT better than the Sexy Mix which really might be the nadir of Queen's official remixes.
As I say, the only one that ever really did anything for me around YDFM was the Dancing Divaz Club Mix. Even the instrumental version is fab - a shame that only seems to have had a cassette run in the UK and a 12" from the sounds of the YouTube upload. Is this the Italian one you mention?
I've recently been pulling together a playlist of my favourite remixes from the 90s/early 00s, and the DDCM was the only Queen one I considered including! As you point out though... it's just opinions, innit?