Fast-forward to 1988, when Jason Nevins, a rising star in the DJ and production scene, decided to create a mashup of RUN DMC's "It's Like That" and Raxon's 1984 hit "Mary Jane". Nevins' vision was to bring together the best elements of both tracks, blending RUN DMC's energetic rap style with Raxon's infectious hook. The result was a high-energy dance track that injected new life into both songs.
Fourteen years later, American producer Jason Nevins radically overhauled the track. Released in late 1997, the Jason Nevins Remix infused the track with high-energy house loops and a driving electronic bassline. This version became an international multi-platinum juggernaut, topping charts worldwide and selling nearly 5 million copies. 3. The Modern Incarnation: The Raxon Edit RUN DMC- Jason Nevins - It-s Like That -Raxon E...
: Raxon substitutes the bouncy house chords of the 90s with a rolling, sub-heavy techno groove that adds weight and continuous forward momentum. Fast-forward to 1988, when Jason Nevins, a rising
. It isn't just a remix; it’s a masterclass in how to modernize a legend without losing the soul of the source material. of the remix or the historical significance of the original 1983 track? Dance floors erupted. By early 1998
In 1983, the hip-hop landscape was entirely different from what it would become by the late 90s. Enter Joseph "Run" Simmons, Darryl "DMC" McDaniels, and Jam Master Jay. By releasing "It's Like That" as their debut single, the trio stripped hip-hop down to its absolute essentials: a minimal Roland TR-808 drum machine beat, a driving synthesizer bassline, and lyrical themes tackling real-world socioeconomic struggles. It was revolutionary because it pushed away from the party-centric disco-rap that preceded it, ushering in the "old-school" hip-hop era and cementing the trio as absolute legends of the genre. 🎛️ The 1997 Crossover: Jason Nevins' Magic Touch
The result was pure alchemy. Nevins’ remix retained the raw, confrontational energy of RUN DMC’s delivery while injecting the kind of high‑BPM adrenaline that filled massive raves and mainstream clubs. In 1997, the track began circulating on white labels. Dance floors erupted. By early 1998, it had crossed over to pop radio.