Notes

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THE BEATLES REMIXERS GROUP


01. COME TOGETHER
Very interesting, it takes a couple of listens. At first some of the "changes" seem abrupt, but then feels a little better on relisten. I really like the new placements of the guitar, very "groovy"

02. SOMETHING
This has a nice, ambient feel, but doesn't seem to be that different, maybe some less instrumentation.

03. MAXWELL'S SILVER HAMMER
My own mix. A few of the edits seem rougher to me now, not sure if from sound balancing or my own fault, but my favorite bit with the piano was kept.

04. OH! DARLING
Worth the price of admission, this is truly truly a fantastic mix, a very different approach that gives me ideas on new approaches. I stand on a very tall mountaintop and sing praises to this absolutely magnificent mix. I have to rethink everything I have ever thought about mixing, as this to me is a new standard.

05. OCTOPUS'S GARDEN
I immediately chuckled when I heard this one. I wonder how exactly you got that effect (you have to hear). This one makes you definitely smile and enjoy.

06. I WANT YOU (She’s So Heavy)
Admittedly this song is my all-time favorite song of all songs in existence by any group. The opening is very interesting. It sounds like versions have been "doubled up" as I have tried before with this song, for a "louder feel". I have also tried before to "hook together" some of the bits, but this is done much more successfully than my efforts. The ending build up at first makes you think it isn't going to happen, but then there is no disappointment as it distorts into its conclusion, though not the same conclusion as album.

07. HERE COMES THE SUN
A nice stripped down version, removing lots of the instrumentation and overdubs.

08. BECAUSE
On the surface, I think this one was tougher to remix than the end results indicate. A very beautiful mix, I can imagine having to cut and paste over and over again to get the right flow to mix together like this, and having to scrap bits and retake over and over.

09. YOU NEVER GIVE ME YOUR MONEY
This one is a lot of fun in its re-arrangement. I really like the prominent piano bit. This one has several different sections mixed together. The best part, though, is mixing together the long guitar ending from the bootleg version.

10. SUN KING
My own slightly truncated mix. It is a good thing we had a good editor. The opening "trance" loop was taken from the Fly On The Wall segment. One of those mixes I just didn't know where to go with, and poor Steve had too many from me to choose from, and none of them seemed quite right. But, again, we have a good editor.

11. MEAN MR MUSTARD
Wow, another one I am quite amazed with, what versions did you use? This one had to have a lot of speed adjustments? I have to get more into mixing bootleg and master version like this. Or was this from the Anthology? Very well done.

12. POLYTHENE PAM
I for a split second thought it was the song Mrs Robinson, and never made the connection with the opening notes until then, though it was just my imagination. This one has a cool [for lack of a better description] John Lennon in the Poltergeist TV set sound effect, then breaks into the musical portion.

13. SHE CAME IN THROUGH THE BATHROOM WINDOW
The best opening on the album, that is for sure, very imaginative and cool. But what is the additional repeated instrument from? That's not from the song itself is it, as I have never heard it before? The vocal part actually made me feel like Paul had already turned into "70's Paul" by this song.

14. GOLDEN SLUMBERS
Extra vocals for the Paul choir, are these from different versions?. It seems as if there is some subtly placed extra instrumentation, very tastefully done for such a "weighty" song.

15. CARRY THAT WEIGHT
Very clever idea, this was truly inspired, to include the other song bits, it fits amazing well. This one reminds me of the Sgt. Pepper Reprise placement, and feels perfectly in place. Correcting speeds must have been very difficult on this one!

16. THE END
I have to find another mountaintop to stand on. This could have been extended into an entire album if Veech was up to such a challenge. The master has achieved his level of art. If this is what caused the delay for Veech to get this one done, I truly agree it was long worth the wait. You should become a professional with mixes like this. Everyone should gather up on a mountaintop for this one and sing praises of greatness. Did I hear there was a longer version? Any chance a huge fan could hear that one too? I hate to have that be the Helter Skelter 27 minute version equivalent of the remixer world and it goes unpublished. Oh, by the way, have I mentioned the greatness of this mix? I humbly bow to the Patamixical Master Scientist.

17. HER MAJESTY
I didn't think there was much you could do with this song, but this one is actually very clever and a lot of fun. I am not sure how to describe it you have to hear it. A splendid time.

18. WHAT'S THIS ONE CALLED, JOHN
My first reaction was, what was that?

19. THE BALLAD OF JOHN AND YOKO
An acoustic version with some piano interludes. I have remixed this one myself, and never got this effect, not quite sure how it was done, but very well done.

20. AINT SHE SWEET
A basic, humble instrumental track version

21. OLD BROWN SHOE
This track removes some of the key instrumentation, leaving the piano and part of the drums. This gives it more of a honky-tonk feel to it. There is also the more prominently placed guitar solo halfway through the song, which makes you realize how deliberate George is in his overdubs, if that makes sense.