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Natasha Bedingfield - Unwritten (Remixes)

About.com Rating threehalf out of Five

From DJ MichaelAngelo, for About.com

Natasha Bedingfield - Unwritten (Remixes)

Sony/BMG

If, like hundreds of thousands of consumers, you've purchased Natasha Bedingfield's debut album Unwritten, you've already discovered that the title track "Unwritten" is one of the strongest songs on the release. (You've also probably discovered the hidden copy-protection software hidden on the CD which installs itself on your computer). But enough about that – while you sift through the smoldering wreckage of your computer (and Sony/BMG sorts out the legalities of their now multi-million dollar class action lawsuit) let's sit back and examine the remix package for "Unwritten."

Daniel Bedingfield's talented and beautiful sister writes another great song, the follow-up to her leading single "These Words". This time around, we have two choices as far as remixers go: Johnny Vicious and Hani, both offering up a full-length mix, radio edit, and dub. Both mixes in this package are solid, top-notch efforts from incredibly accomplished and respected long-time professionals in the industry.

Hani's mix is the more laid-back, smooth, easy-to-swallow mix. Nothing too excessive, nothing terribly anthematic or hands-in-the-air exciting. Just a consistent delivery, complete with a funky bassline and workable intro & outro most DJs will find easy to mix into their sets.

Johnny Vicious' took things on a more intense, piercing level with synth lines that will absolutely blow your mind. The chord structure has been criticized by some as sounding inconsistent with the melody of Natasha's vocals, however; so it appears this one may join the ranks of Jonathan Peters' mix of Rockell's "What You Did To Me" or Eddie Baez' mix of "Rumors" by Lindsay Lohan: mixes with great production, but something just sounds a bit "off" with the music vs. the vocals.

The Johnny Vicious Warehouse Mix is slightly less vocal than the full club mix, and is a bit more sparse in its production. Still, we are treated to excellent vocal manipulation and stuttering which brings to mind the vocal acrobatics he used on Whitney Houston's vocals in "It's Not Right But It's Okay." The synths used after the choruses is so intense, however, it would've been nice to have more pounding beats other than the fairly simple ones used.

All in all, a fine group of remixes from some widely-respected talents in the industry. Looks like Natasha Bedingfield is off to a great start as a dance-friendly pop artist – can't wait to see what the third single will bring.

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