The 7-Step REMIX Process

So, let’s have a bit of a recap.

David Bowie is trying to keep my handclaps in time with an intense stare. We’re recording in Westway Studios. His eyes really are different colours. HRH Queen Elizabeth is asking me about my drum. We’re backstage at the Albert Hall. She really does speak like that. Andy Warhol is shaking my hand at the opening of Little Nell’s Club in NYC. He really does seem bored. From 1976 to 1980 we hang out together every day. I’m talking about Green from Scritti Politti. He really is a genius. We rent a house as art students in Leeds, open up a squat as musicians in London, and right now in 1980 we’re half way through our set on stage in Berlin. Green has found the perfect way to make the girls go crazy.

Mister Gartside has found the perfect way to make the boys go crazy too. Scritti Politti are an ‘intellectual’ band. We’re defining the groove of structuralism, getting on the good foot at The Wag Club and doing most of our interviews in the pub. Music journalists are either loving us or hating us but they’re certainly not ignoring us.

The youngest in a family of four boys my brother Bobby restores chairs, John sells chairs and Glenn delivers chairs. The Morleys from Saltdean are all about sitting down. In 1976 I leave my Brighton home to escape the family dynamic. 

Green, Niall and I are all about standing up. Standing up to record company power and standing up for social justice in general. We’re pioneers of DIY recording, we’re helping others to stand up too. Hundreds of us, thousands of us in fact.

I’m sitting down behind my Scritti Politti drum kit though. Darn! It’s not that easy to escape the family dynamic as I’m sure you’ve found yourself. But at least here in Berlin the music pumps out, the crowd dances and the lights change from gold to white and … ah, wait a minute.

The lights. Power cut, everything goes down. That’s the trouble with these European Art House Venues. Like the revolution it looks good on paper but does it work in practice? 

I keep drumming. The beat goes on. Right now I AM the gig. 

The crowd start singing the Bob Marley chant to my reggae beat “Ayo! Ayo! Ayo-yo-yo. Ayo-yo-yo.”

We don’t need record companies, we don’t even need electricity, we just need the beat. “Get up stand up, stand up for your rights!”

And here come the lights, the mics, the amps and whole Berlin stage surges into life again, twice as bright. We will not be silenced and we are stronger for having come through this crisis in style. Together.

In another part of town Kraftwerk are singing, “She’s a model and she’s looking good. I’d like to take her home it’s understood”.

Sure, rockstar stories are entertaining but what can we take home? That’s what all speaker bookers ask. That’s what all PAs need to show their boss once they’ve got three options to put on the table. 

How can I make sure that I, Tom Morley and his drum, are the one chosen? Not just so I can get paid but so I can carry on changing the world. 

Here is my bona fide, tried and tested take home model. It’s called the 7-Step Remix Process and it’s based on what I’ve learned on stage, backstage and out in the world during twenty five years of personal development.

Twenty five years? Why did it take that long? Here’s a bit of context before we get to the 7 Steps. 

The day Scritti Politti release ‘Wood Beez’ I become a has been. 

We’re recording an early version of the song at the BBC. As we listen to the track the producer says to Green, not me, “D’you hear that? The tambourine slows down at this point.”

I’m now re-recording the tambourine part in a booth of my own. Nothing is being said and everything is being said. Within a year I’m being replaced by Fred Maher from NYC. 

Everyone has their version of this story whether you’re reading it on LinkedIn, Facebook or in a PowerPoint deck. A party you don’t get invited to. An exclusive clique at the water cooler. Someone gets promoted when “It should have been me!”. What can we do? Don’t be a ‘has been’. Be a bee. Keep buzzing. 

From TV jingles, to graphic design, to session drumming, to journalism, to treehouse building, to songwriting, to backstage crewing, to teaching, to being a stand-up comedian, to conference team building, to TEDx talking. I go for it. I live at the intersection of discipline and surrender, getting into flow at the drop of a hat. This includes having a complete ‘Dark Night Of The Soul’ music business breakdown. You’d feel cheated if I didn’t have at least one, right? 

But to make sure I only appear on your stage with healed scars, rather than open wounds, I’ve done 25 years of personal development research, as a participant and as a facilitator. ‘Insight Seminars’ to European Leadership level, ‘Landmark Forum’ to Advanced level, ‘More to Life’ to Warrior Level. I’m a Reiki healer if you’re hungover from last night and I’ve got a diploma in Swedish massage if you’re feeling a bit tense.

“Ready or not, here I come, you can’t hide.

I’m gonna find you, and take it slowly”

Fugees (1996)

The 7-Step REMIX Process. We can take it fast or we can take it slow.

Both ways it’s all about YOU. 

I’m modelling it here but this is yours to keep and use on a daily or weekly basis. Please share it with colleagues, family and friends. 

“A take away that will last a lifetime. How I wish I’d discovered this for my team twenty years ago.”

Paul Culleton. J&J HR Director

The 7-Step REMIX Process is here to assist anyone who, in their daily life, experiences trigger events that result in a loss of energy.

How do we recover from that outside trigger by changing our inner mindset?

When you see a star on stage getting the crowd going with their latest upbeat HIT song, you might think, “They have no problems at all. What a life!” 

However, they may be singing a different song inside. These are the doubts that beset us all, stars included.

Here’s an example from July 2000. Later in the week I’ll share a 2022 ‘Hit’.

The REMIX Process takes between 20 and 40 minutes and should be done in a place where you won’t be interrupted.

1. PAUSE. Breathe. Feel the way the beat has changed.

2. REWIND. I need to realise I’ve started singing a sad ballad.

3. LISTEN. Is my new song authentic?

4. EDIT. Ditch the inauthentic lyrics, keep the lyrics that are inspired (if any) and rewrite each line to tell today’s truth.


Boost the bass and emphasise the essential message of the song in the featured lyrics to express my genuine feelings.

6. RELEASE. Tell the world.

7. DANCE. Get my inner DJ to play the new version. Feel my energy and enthusiasm returning.

To do this yourself you have to pinpoint an exact ‘hit’. This is crucial because when you have that hit it takes less than a second for the avalanche of self-criticism, often referred to as self-talk, to begin. You need to go back to that exact point in time. 

For example, in summer 2000, I’m walking down the High Street in Paddington, it’s a sunny day. I’ve got out of the music business, it’s too painful. Instead I’ve set myself up as a graphic designer with an office here. I’m enjoying it, I’m fully in control. 

The shopkeepers know me, I’m a bit of a local hero because I help them with their window displays. I’m responding, responding and responding to life but then I ‘take a hit’ and react.

How do I know?

My mood changes, the spring in my step disappears, I’m not enjoying the day any more. It stinks, I start thinking that spring in my step was just an act. All of a sudden, “Life always stinks”.

What did I react to? Why did my mood suddenly change?

Let’s take a look around. It’s a normal High Street, the usual shops… I just walked past my local newsagent’s shop and I glanced at… the magazine covers.

That triggered the reaction, that was ‘the hit’. No one else noticed, no one else’s world changed. Just mine.

I now need to PAUSE, REWIND and LISTEN to the words of the sad song I started singing in my head. I need to find a quiet place to write these lyrics down. This cafe corner table will do, they know me here. 

Here goes…

“I used to be on front covers like that, I never will be again.

I used to be someone people liked.

That time has gone now and I blew it.

All my old mates are rich and successful now.

If I’d been smarter I’d still be there on those covers.

I’ve blown every chance that’s ever come my way.

Others would have made the most of it.

Even if something new was to come along I’d mess it up somehow.

That’s what I’m like with everything.

People don’t want to know me any more.

They turn away in embarrassment when I walk into a room.

The world would be better off without losers like me messing it up for everyone else.

I’ve become one of those depressed cynics.

I’ll die alone in the gutter and deserve it.”

Pretty standard to be honest, a lot of my ‘hits’ spiral me down fast like this if I’m not vigilant.  

In order to EDIT this sad song, I’ve got to ditch what’s wrong and record what’s right, that is, discover what’s authentic and update the mix.

So I’m going to go through it carefully, like any songwriter does, looking for the essence. I’ll either ‘ditch’, ‘keep’ or ‘rewrite’ each line.

“I used to be on front covers like that, I never will be again”. 

Action 1: Ditch it.

Action 2: Rewrite.

I ended up on those covers by pure chance . I didn’t aspire to it, I was going to be an artist, not a musician. I did it while I was young, which is the best time. I’m glad I did, I was lucky to have met Green who had a plan. Who knows what will happen or who I’ll meet in the future? 

“I used to be someone people liked”. 

Action 1: Ditch it.

Action 2: Rewrite.

And people still like me. I’m not famous like I used to be but I have a bunch of loyal close friends who love me. That’s undeniable, and that’s what I’ve always wanted most.

“That time has gone now and I blew it”. 

Action 1: Ditch it.

Action 2: Rewrite.

The time has passed yes, but I didn’t really blow it. I did what at least 95% of young people who are elevated to fame too early do and believed the hype. I stopped paying attention to the quality of my work and partied too hard instead. It was a choice. I hate to admit it but I was ‘normal’ in my approach to fame.“

“All my old mates are rich and successful”. 

Action 1: Ditch it.

Action 2: Rewrite.

A small percentage of my old mates are rich and successful, some are dead from excess, most are re-adjusting to the normal commercial world like me and learning we may be unique but we’re not ‘special’. We’re not blessed, it’s time to look after ourselves just like everyone else.“

“If I’d been smarter I’d still be there on those covers”. 

Action 1: Ditch it.

Action 2: Rewrite.

I miss being famous yes, but only a tiny percentage of people get on ONE cover in their lifetime. Staying there is hard work and I wasn’t ready for it. I’d have had to be a different person, and I wasn’t.“

“I’ve blown every chance that’s ever come my way”.

Action 1: Ditch it.

Action 2: Rewrite. 

The fact I was there at all shows I’m good at maximising chances. All successful people rise and fall, rise and fall. All the interesting ones do anyway.“

“Others would have made the most of it”. 

Action 1: Ditch it.

Action 2: Rewrite.

I made the most of it. Really. Because of Scritti Politti’s D.I.Y. approach I learned about record production, artwork design and packaging, distribution, recording, how to stand my ground in an interview and how to deliver what I wanted to say in a way that provided the content they wanted. I REALLY made the most of it. It set me up for the rest of my life.“

“Even if something new was to come along I’d mess it up somehow”.

Action 1: Ditch it.

Action 2: Rewrite.

I’ve made the most of every opportunity that’s ever come my way. I’m known for it.

“That’s what I’m like with everything”. 

Action 1: Ditch it.

Action 2: Rewrite.

That’s just nonsense. People invite me to get involved with their projects because they know I’ll go for it 100%. I can’t stop myself.

“People don’t want to know me any more”. 

Action 1: Ditch it.

Action 2: Rewrite.

I have a good heart and I commit to things. Because of my childhood experiences I’m hard-wired that way. My values include Justice, Imagination and Belonging. People generally appreciate my vibe if they get to know me. Some don’t. Lol.

“They turn away in embarrassment when I walk into a room”. 

Action 1: Ditch it.

Action 2: Rewrite.

This is nonsense. I’m generally welcomed warmly, even when I DON’T have a drum under my arm.“

“The world would be better off without losers like me messing it up for everyone else”. 

Action 1: Ditch it.

Action 2: Rewrite.

I’m not messing it up, I’m committed to healing it wherever and whenever I can.“

“I’ve become one of those depressed cynics”.

Action 1: Ditch it.

Action 2: Rewrite.

I’m someone who needs help sometimes. However, as Dawn says, I’m relatively easy to support because I never give up, even in the very depths I have the determination of a crocus valiantly breaking through the council’s tarmac to reach the wider light.

“I’ll die alone in the gutter and deserve it”.

Action 1: Ditch it.

Action 2: Rewrite.

Because it’s in the future I don’t know how I’m going to die. But I imagine I’ll die in a loving community somewhere and I’ll have spoken with a number of trusted facilitator friends beforehand to ensure my funeral is a celebratory affair with much singing and dancing. Maybe a bit of drumming too.


I now have a more authentic and ‘upbeat’ song, but it needs a bit of refining. The essence of a remixed song is to strip it down to what is essentially true, keep that as a ‘top line’ and boost the bass to draw people to the dance floor. 


I can now give the press a genuine quote, supplying them with the content they need to publish my story, should they wish to, so the song becomes real by being out there. 

In this instance I’m going to say…

“I’ve been diving deep recently and though I’ve been through some hard times I’m using all those experiences as a firm foundation to create something new. When I was a teenager I used to see these eccentric older guys at parties, still in the groove, showing me that I don’t HAVE to give it all up when society tells me to. They inspired me with their Mad Hatter looks and their “I’ve been to hell and back and I’m still dancing” vibe. That’s who I’ve become. A proper Elder. Hopefully you’ll hear in this latest release a groove that’s been designed to span the generations, honouring ALL of our journeys. The beat goes on”.


This is a metaphor of course. I don’t have to dance and nor do you. It just means getting out of this cafe and getting back on to the sunny side of the street. 

Let me be clear though. This model is NOT based on false positivity. As you can hopefully see, it’s about challenging my self-talk and simply stating my genuine gratitude for what I have right here, right now.

And here’s an ‘author’s note’ of caution.

Should you decide to try this 7-Step REMIX Process yourself you need to continue with it to the end. This is crucial. 

You might feel pretty bad having defined a ‘hit’ or trigger, and written out the avalanche of self-talk on the page. Keep going! 

This is no time for “I’ll finish this later when I feel better”. You won’t feel better until you’ve remixed it.

Nobody likes to face this stuff, or even admitting to having such a critical voice in their head, but it’s completely normal. Carry on, you’re 15 minutes away from liberation. 

I learned the framework of this process working with the late Dr. K. Bradford Brown, creator of the public ‘More To Life’ programme. I’ve adapted his language to suit my audience but the processes, especially that of verification (ditch, keep and rewrite), came from him. I pass this work on in gratitude to my friend Brad as a way of honouring and developing his work.

Kraftwerk have more than one model in their ‘She’s A Model’ video. I’m sure, whether you’re a reader of Vogue or GQ magazine, you’ve dreamed of taking more than one model home.  

More ‘get out of jail free’ business models are coming later in the show I can assure you. Just as deep, just as beautiful and just as powerful. There is a LOT of activity backstage as more models are preparing themselves to strut their stuff on this catwalk to Third World’s song, ‘Now That We’ve Found Love What Are We Gonna Do With It?”. It is, after all, one of the most important questions ever asked. 

No one is ‘up themselves’ backstage though. I form a standing circle at the start of each event and we spell it out clearly. You, the audience members, are the STARS of this show. Every model, however beautiful, is just a model and I, however mad, am just a drummer.

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