Liontamer

Awesome source. Someone give us a straight up extended Bollywood ReMix of it for the win. Source finally kicked in at 1:04 an extended percussion intro. Can't say I was a fan of the percussion during the electronica. Something beefier and placed further back would have clicked more. The ethnic instrumental stuff meanwhile sounded strong; so good, that the quality disparity with the electronic sounds hurt this IMO. Nothing dealbreaking, but it stuck out to me. Overall, I definitely enjoyed the structure and writing here. I wasn't sure why BGC said the source usage was conservative, so I did a breakdown: :37-1:03, 1:04.75-1:17, 1:31-1:44, 1:57-2:10, 3:06.5-3:10, 3:16.5-3:18, 3:23-3:24.5, 3:29.5-3:31, 3:36-3:37.5, 3:42.5-4:12, 4:17-4:20, 4:23.75-4:25 That added up to 108.5 seconds of a 4:29-long track or about 40.3% of the mix. There were several other melodic sections, but I didn't hear any A-to-B connection to the source on those; correct me if I'm wrong. As is, it seemed like the original writing pieced together seamlessly enough with the source material that it was just accepted as source. The bassline from :37-1:03 was a clever bit of interpretation, a 6-note pattern based off the voice from :40-:44/:47-:51 of the source. Liberal, but the altered rhythm was recognizable to me, so I'll counted it. That said, the bassline was also present in other sections that had no other source usage (1:18-1:31, 1:44-1:57, 2:10-2:23 - 39 seconds total, as well as parts of 3:17-3:41 for 18.5 second total). Normally, I'd say that bumped the source usage up enough, but that pattern was so, SO far in the back and drowned out by the other instrumentation that the usage wasn't overt enough for me to give you credit. That's part and parcel with BGC's criticism that the loudest, densest parts ended up being very cluttered. The production needs some cleaning up anyway, so maybe that bassline can get some breathing room and be a more audible part of the track. It's a relatively tenuous source connection, so it really needs to be heard for the source usage to feel dominant. Lots to like here, but I'm gonna have to say hold on this one. If there's more obvious source usage I missed, then I could roll with it, but what I'm making out so far adds up to a NO (resubmit). This is really good stuff so far, but I'd like to see the production tweaked to better highlight the source usage.

The bland synth design on the leads immediately stuck out. The beat changeup at 1:16 was a weak point; the percussion wasn't cohesive with the other instrumentation at all. Square peg, round hole. Even if it wasn't the case, the drums sounded like some loops were merely plugged in and swapped every few bars. They never sounded cohesive, and I don't see how there was any attention to detail there. I'll go the other way, it sounded lazy. The 1:38-1:56 & 3:50-4:08 sections sounded muddier and more distorted than the earlier parts. The added bass kick was causing the issue. From 2:58 until the end, the melodic arrangement was basically rehashed with different beats underneath for the last minute and half. Some fat could have definitely been trimmed off there. There really needed to be more development and evolution of the melodic arrangement, not just the supporting parts. Melodically, this was too conservative and repetitive. Time to come back to reality. Not sure why this got 3 YES's at all. I hate to offer up Jude's piece on the alter here and seem mean, but this was not close or borderline. Push them bars up higher, bros. NO

Contact Info Remixer Name: NeonDreams Real Name: Logan Krukowski E-Mail: daydream_in_the_dark@yahoo.com User ID: 30394 Submission Info Name of Game: Banjo-Tooie (N64) Song Arranged: Jinjo Village Thought Behind Remix: I just thought about how the Gray Jinjos house was ran over in B-T, and what it would be like if the Jinjo's had a funeral for him. A kind of sad, slow reworking. --------------------------------------------------------------- - "Jinjo Village"Melodically, it was repetitive, but it was a funeral dirge, hence the approach. There were at least some textural and instrumental variations within the track to change things up here and there, but there should have been further development. If you listen to an OC ReMix like Radiowar's Donkey Kong Country 2 "Lanterns", also a funeral dirge, you may get some other ideas on that level. Or you could add some original writing on top of the simplified chord progression, or use other melodic sections of the source with another instrument. The rain SFX looped about every 2 seconds and got old pretty quickly. The concept there was good, but you just can't get lazy with the usage like that. There's only maybe 3 or 4 things going on in the soundfield at once, otherwise that looping wouldn't have been so exposed. The other issue here was that the sequencing of the parts was too rigid. It wasn't awful, but the issue was noticeable. Hopefully the musicians Js can give some specifics on how you can tweak that and achieve a more human sound to the performance. This has some potential, and I liked the concept. Do keep at it, Logan. NO (resubmit)

- Harjawaldar - Mads Smebakk - madsmeb@hotmail.com - http://www.myspace.com/harjawaldar - 30387 - Zelda: A link to the Past - The opening - http://www.youtube.com/watch?v=GmZ9CPu-8eU Comments: A Link to the past is one of my all time favorite vg soundtracks, and I think this theme is the best in it. I made the recording with only one 6-string Ibanez half-acoustic guitar, and there are many layers of guitars active at once. I really just wanted this to sound as beautiful as possible. The song was made for Dwelling of Duels Free month May 2009. It got me the second place. --------------------------------------------------------------- http://www.youtube.com/watch?v=GmZ9CPu-8eU - "Opening Demo" Definitely an impressive performance from when I first heard it from DoD. The first half of the arrangement was too conservative, but had some grace notes here and there. That alone wouldn't have been enough to make it passable though, so I'm glad the structure didn't stay like that. The second half (1:39-on) pulled this one up from a NO for being too conservative by getting significantly more interpretive with the source. Chill, relaxing stuff to listen to, and a welcome addition. Certainly hope we hear more from Mads in the future. YES

Hate to be glib, but I don't have much more to add. This definitely got boring quickly. That melody at 2:02 isn't as cool as you thought it was. Do like BGC said, trim the fat, and add more substance and significant variation to the arrangement. This wasn't a bad start, but develop it further. NO

* ReMixer name: Shyft * Real name: Nick Mayer * Website: http://www.myspace.com/feindshyft * Name of game arranged: Super Mario 64 * Name of individual song arranged: Haunted Merry-Go-Round My submission is a gabber/electronic hardcore remix of the eerie carnival music in the ghost house area of Super Mario 64. Friends of mine often tell me that my gabber tracks sound like psychotic circus music, so I decided to create a track in that vein on purpose. Composed and rendered in FL Studio 8 using REFX Vanguard, Sytrus, EastWest Colossus, a few basic small percussion samples, and self made samples from the game. ------------------------------------------------------ http://usf.hcs64.com/Super%20Mario%2064%20(1996)(Nintendo%20EAD)(Nintendo).7z - 13 "Merry-Go-Round" The source tune from :44-2:01 sounded like a rip of the original with upgraded samples, i.e. didn't sound different enough from the original. Trim that down a lot and get to the gabber portion sooner. From 2:01-2:48, the droning beat wasn't particularly interesting, but the altered rhythms of the source tune were creative. If that beat could be pulled back, the melodic writing would lead this more, I think without sacrificing the overall feel you're going for. 3:08-4:05 recycled the arrangement. The portion with all the cut-up Mario effects was creative as well, but definitely overused, as well as never used while the source tune was in play, which detracted from the arrangement value. Normally, I don't have an issue with separate original sections, but they didn't thematically piece together well with the arranged sections. One you've heard one section of the Mario clips and one section of the arranged source, that was basically it. Everything after 2:48 was basically cut-and-pasted and rehashed. You're gonna have to develop the ideas here more substantively instead of just cycling sections. Not my style, but not a bad start. The rhythmic changes to the source were definitely going in the right direction. Keep at it. NO

Agreed with all of that except the NO being borderline. It's definitely not. Still this was a cool cover, Will, it's just the production was definitely messed up and started hurting my ears. I absolutely love the theme though. Definitely a shame that you lost the source files, because you could easily provide more melodic interpretation, properly balance & master this and get it passed. Ah well, that's life. If you're in the mood, get a guitarist to collab on this theme and mesh you style with some live guitars. Could be pretty badass!

Contact Information * Your ReMixer name evesira * Your real name Vincent Rubinetti * Your email address vince@vincentrubinetti.com * Your website vincentrubinetti.com * Your userid 4862 (evesira) Submission Information * Name of game(s) arranged Donkey Kong Country 3 * Name of individual song(s) arranged Gears Grinding (remix of Nuts And Bolts by Eveline Fischer) A few months ago I submitted Industrial Hysteria, a remix of Fear Factory from the first DKC game. It got rejected I believe because it was too much like the original (essentially it was the original with different instruments and synths). I didn't originally make it for OC; submitting it was an afterthought. As a result, I didn't read the rules on submissions until after I had submitted it (I know). Anyhow, I think this remix satisfies all the rules. I hope you enjoy. Thanks -- *Vincent Rubinetti* www.vincentrubinetti.com vince@vincentrubinetti.com (professional) vincerubinetti@yahoo.com (casual) --------------------------------------------------------------- The submission filesize limit is 8MBs, so watch out for that. http://ocremix.org/chip/6323 - "Nuts and Bolts" (dkdt-16.spc) The electric guitar synth didn't sound realistic, but it worked nicely during the speedier riffs at 1:56. When you had it play longer notes at 2:38 though, man was it ever exposed. It sounded awful. You have to either obscure or work around the deficiencies with your samples. Also, the core beat pattern, while pretty cool, dragged on after a while. We're talking nearly 6 minutes and it never let up until FINALLY at 4:34. Trim some fat off of this one. The ending was also a head-scratcher. Why even bother with a drum fill unlike anything else in the track at 5:45 in the last 10 seconds? As far as the arrangement, the beats and string were a strong sound upgrade, but I don't see how you could recognize that your last sub was too conservative, then think this wouldn't have similar issues. The structure was basically identical with the source. This needed to do more to stand apart as a unique interpretation of the original. The original writing on top from 2:38-3:03, 3:50-4:08 and 4:34-4:50 was a start, but I'd say that original writing wasn't that strong or cohesive, and wasn't really enough as far as interpretation. You have some good sounds (for the most part), Vince, but you need to develop a more personalized, interpretive take on the source material that truly stands apart from the original and justifies 6 minutes. NO (resubmit)

Sources: http://www.youtube.com/watch?v=fUNbm3vO4Cg from Majora's Mask, also a bit from #02 on the tloz alttp rsn, a bit I'm not sure is enough to count; and a little bit of Twilight Princess which hardly counts as anything but a poorly incorporated cameo. "The World Needs Healing" - I had a bunch of project tracks I should have been working on. I was looking for a new job (still looking at the time of writing). I was declining taking part in projects because I had too much to do already... And then I realized I was starting a new remix. This one. It's my first sub in a long time that doesn't really involve synths much. Logic's decent-sounding but undersampled piano, some GarageBand Jam Pack instruments, a bowl-like synth sound, lazy-ass looped drums with mostly just volume changes... I'm sure having collaborated with someone who could actually play piano and had better samples than I do would have made it real pretty, but I wanted to see how well I could do it myself. It's not awesome, but it's pretty enough to sub. Any fatal flaws I missed? -rozovian, #21613 -- memo: new file without annoying soft clicks new file without white-like noise on strings -------------------------------------------------------------- http://usf.hcs64.com/Legend%20of%20Zelda%20Majora%27s%20Mask,The%20(2000)(Nintendo%20EAD)(Nintendo).7z - 129 "Song of Healing" There was a dullness to the soundfield that marred the whole thing. Sounded like some higher frequencies got lopped off, which was unfortunate because it really undermined the track, IMO. There were also timing/realism issues with the piano and string sequencing heard within the first minute that were difficult to ignore throughout the mix. I thought the pacing of the arrangement caused it to drag on, but didn't mind it too much; didn't significantly affect my vote there. But the higher frequencies need to make a comeback, and the sequencing of the strings and especially the piano need to be refined before I could sign off on it. I'd definitely go for a resubmit if this doesn't make it, but I think this needs more polish. NO (resubmit)

Weird. Yeah, checking the inbox, this fell through alright, though I'm not sure why. Unless this got changed dramatically from the previous version, the source usage of the arrangement was fine, so I'm not sure where those reservations came from. As I said a long time ago in the previous vote on this, all that was needed was for some production fixes to push this over the top. Instead, this version sounds worse. What can ya do? Y'all made this a while ago and the project files went poof. Too bad, because if the percussion were fleshed out and the track didn't sound so muddy and lo-fi (which were issues last time), we could have ran with this. As is though, it's an unfortunate NO. Too bad, I was always a fan of this one, but the potential was never realized here.

Agreed, the sequencing was too mechanical. At least there were several instrumental changes in the attempt to keep things evolving, but the song was dynamically flat and each section managed to overstay its welcome anyway, IMO. I also would have liked to have heard more interpretation of the actual source melody; what's here does slow it down and change the mood, but the melody was otherwise played the same no matter what instruments were being used. The last section with the bells was probably the most creative take on the theme. A lot of fat could have been trimmed off this one and replaced with additional substance. You did alter the mood and try to personalize this take on the theme, but it still needed further development. NO

Hi! My Remixer name is: T:B. Game is Final Fantasy V. Original title Final Fantasy V: The Fire-Powered Ship by Nobuo Uematsu. --------------------------------------------------------------- http://ocremix.org/chip/6560 - "The Fire Powered Ship" (ff5-1-22.spc) The percussion at :51 was about as tame and flimsy-sounding as could be; it left the background sounding too empty instead of beefing up the groove. The track did slowly add elements and provide some dropoffs, but there still wasn't enough dynamic curve or contrast over time. Structurally, the melody was basically verbatim with the source and repetitively used, so it really could have used futher interpretation. Develop the ideas further and get more creative with the handling of the melody. You have some decent ideas to personalize the theme, but you need to introduce more, IMO. Happy Kwanzaa! NO (resubmit)

Remixer Name: Willrock Name Of Submission: Above The Sky Games: Sonic 2 and 3 Source: (Sonic 2 - Ending theme) (Sonic 3 - Angel Island Zone Act 1)Remix Link: http://www.mediafire.com/?wyzu1wymnmu Comments: For what seems like years, this was a 30 second wip as I didn't know where to go with it at that point. However, I kept it on my computer, like all my unfinished wips just incase inspiration struck. In this case it did, and I ended up with a solo piano interpretation of one of my favorite themes from sonic 2. Its not perfect as it is sequenced (I don't have the equipment or the skills to do this live ) but I hope you guys enjoy it all the same. --------------------------------------------------------------------------------------------- http://ocremix.org/chip/2473 - Ending Theme http://ocremix.org/chip/2387 - Angel Island Zone: Act 1 Yeah, it's not perfect. I've heard much stiffer sequencing, so don't take this the wrong way, but this didn't sound realistic on any level. The timing's just way WAY too robotic, and it saps a lot of the energy out of the arrangement. Didn't catch the Sonic 3 in here, not that it mattered re: the validity of the overall source usage. I love you stepping out of your comfort zone, Will, so it's refreshing. See if you can smooth out and improve the execution on this. Depending on how far you improve, it could really open up possibilities for you as an artist. NO (resubmit)

Remixer Name: Frumpiemonkey Real Name: Brett Merrill Contact: brett.a.merrill@gmail.com Game Used: The Legend of Zelda (NES 1986) - Music by Koji Kondo Track Used: Overworld Theme - Koji Kondo About My Remix: "Skies Over Kingdoms" is what I've always wanted to hear with the Zelda Overworld Theme. I always have had this vision of link flying over the kingdom on a giant eagle and I wanted to embody that in my debut arrangement. I purposely avoided using much bass and instead focused on the higher instruments and harmonies. I've heard most of the remixes for The Legend of Zelda on O.C. Remixes and I decided to take a somewhat risky and approach. In order to make the track "fly" I avoided too much of the traditional snare drum, used arpeggiation liberally (I normally don't arpeggiate at all) and I tried my best not to pretend I am John Williams. Originally I arranged this piece last minute as the "winner's walk" for one of the preliminary Miss America Pageants this month. I haven't touched what I did originally except to master the track, giving it that extra "umphf!!!" I desired. I made another risky decision by sticking close to the source material instead of wandering off to compose original solo themes to compliment the old one. While I have made a couple new complimentary themes I have made them minimalistic in nature. The remix itself may sound somewhat "big" (it is the Zelda Theme) but I approached it from minimalism to keep consistency.I also kept the track short so that it didn't get boring. I know that many many people have remixed this song and so that makes it a tough cut to make but I am confident that it is different enough to merit being posted on www.ocremix.org and hopefully to inspire some cooperative projects in the future. I hope you enjoy my mix down and thank you for your time and consideration. - Brett Merrill --------------------------------------------------------------------------------------------- http://ocremix.org/chip/1804 - Track 1 The brass sequencing definitely needed some work, as the articulations sounded very unrealistic. That was a problem for other stuff like the strings, only to a lesser extent, and not as deal-breaking as the brass was. The woodwind sequencing later at 1:58 was also somewhat stiff/jerky sounding. Keep working on refining things so that the note movements sound smoother and more natural. The original section from 1:27-1:58 was awfully lonely, and dragged a little in my opinion, but that's more of a subjective complaint. I see what you were going for there given the sub letter. The ending around 3:20 came off strangely, especially the lone sustained string. Just in case you were worried about the arrangement being too conservative, I thought this was fine. I like the style; the writing fits the pageant origins. You don't really need to change much besides refining the sequencing/production so that the samples are used at their best, and I could roll with this. Hassle who you can to get tips on touching this up so you can push this over the top, Brett, and keep at it. You could definitely get something passed if you keep at it. NO (resubmit)

Dude, are you deaf? "Windmill Hut"/"Song of Storms" is ALL OVER THIS TRACK. Not only is it used in the intro's build, but the melody's right there at :40. It's not even drastically altered.

I'm surprised you got a YES from Vigilante; you better take that and run! I only say that because the production should have been cleaner, and there were a lot of sections where the leads were too quiet & pushed back, and the soundscape sounds dulled like a lo-fi encoding. So the arrangement would be a relatively solid pass, while the production/mixing was significantly weaker, but not weak enough in light of the arrangement. In any case, I've been too busy to vote on everything, but I specifically wanted to post a borderline YES on this as well. You were diligent with these resubs, and you did a great job pulling things together to finally have a much stronger product. Onward and upward, right? Keep improving and we'll hopefully have more from you on the front page, Sreyas.

I loved when Lie Mf B tackled this theme. I'm always down with his stuff, he just always ends up heavily sampling drums from mainstream music, so we can't take 'em. Oh well. On this one, I'm gonna be blunt. The articulations weren't brutal in the sense that you can't write music. But they were brutal in the sense that they just don't sound realistic or fluid at all. And you definitely tried, I can hear it. Keep at it and bug whoever you have to to learn more about getting your sequencing and timing to sound more fluid. Decent arrangement. I thought some of the notes changes with the melody sounded awkward, but this definitely would have made it 7 or 8 years ago. Now you've gotta take the execution to the next level. I doubt you could spruce this up enough to pass on your own, Matt, but I'd say try and see how much you could improve this piece, and I think you could learn a great deal. Definitely don't be discouraged though. As long as you keep progressing, you sound like you could get a mix passed. NO

Not sure what vox you heard, Vinnie. Maybe you meant faintly in the background around 2:21, but that sounds like an EP or something that's definitely not vox. Love the source tune, which I've never heard before. Shnabubula could really do a number on this one. The Genesis has a lot of undiscovered gems when it comes to soundtracks. The drums here were...interesting. The tone didn't quite mesh with the rest of the instrumentation and the volume wasn't balanced with the other sounds, IMO. I would have pulled them back a bit, but it's not a big deal. Otherwise, I loved the writing on them though; very energetic. The instrument chageups throughout the track were jarring on the first listen, but I'll live. I totally understand where Vinnie was coming from with it fitting the frantic nature of the track. The piano sequencing at 2:02 sounded too quantized and unrealistic. The strng sequencing also could have sounded a bit more natural with the timing, but sounded a lot better than the piano. The last drum hits and organ at 3:18 for the finish sounded way too trite & corny. IMO, just ending it with the string, organ and piano up until 3:18 was strong. Arrangement-wise, this was a pretty cool conservative mix to listen to. Aside from 1:44-2:03 and the ending, however, I wasn't picking up more overall interpretation, so I would have liked to have heard more. Even with stuff as varied and complex-sounding as the drum rhythms, those were basically carried over intact from the source. I'll actually go further than Vinnie in saying that there needs to be more interpretation, even though the overall performance was pretty cool. That said, the production issues with sample articulations do hold it back as well. The final product doesn't drammatically lack in either arrangement or production, but I'd say the arrangement needs more ideas and changes to creatively stand apart from the original, and then the sequencing could use some tweaks to sound more humanized. Not far off the mark, so I definitely hope you're willing to resubmit this piece, Dihaz; this is a good base. NO (resubmit)

To whom it may concern, My name is Tyler Sautter (User Name: tsaudandthejihads, userid: 24191), and this is a remix of the "Titanic Toddler" level on the game Zombies Ate My Neighbors for either Super NES or Sega Genesis. While this is my first submission, I think it's a strong remix in the sense that I have changed the time signature completely. The original is in a 6/8 kind of feel, and I decided to go with a "Rob Zombie" style horror shuffle feel, which kinda sounded like a horror porno kind of groove. The Wah Wah guitar sound is actually coming from a acoustic/electric guitar, which went through distortion. If the sound clips are to risque, I have a version without them. Thanks for your time, Tyler Sautter (tsaudandthejihads) ----------------------------------------------------------- http://ocremix.org/chip/6469 - "Titanic Toddler" (zamn-10.spc) Hahaha! Awesome. Definitely recognized the "When Harry Met Sally" clip, but I dunno where you got those other voice clips. I don't think I wanna know. This is badass. It's short, but well personalized (voice clips aside). I wouldn't have minded the arrangement developed for another 30-60 seconds, and almost NOed it, but you know what, I'm lovin' it. F it. It's fun, it clicks, and it has a great, different tone compared to the original (voice clips aside, redux). Let's go. YES

Hi, my name is Chris Holland. I'm a huge fan of ocremix and this is my first submission. Basically I'm a guitarist who also dabbles on bass, drums, and the occasional keyboard. My video game remix project is called "Nanaki's View" This submission is my rendition of a tune called "Beware The Forest's Mushrooms" - from Super Mario RPG (SNES). I hope you enjoy it! Thanks! - Chris -------------- http://ocremix.org/chip/6318 - "Beware the Forest's Mushrooms" (smr-128.spc) A heartbreaker, but not a difficult call. At 2:14-long, and fairly repetitive, the arrangement simply wasn't developed enough. The drum writing was pretty basic and plodding, and aside from the steel-strung guitar cameos (which sounded beautiful, mind you), the interpretation was also too by-the-numbers and straightforward. After 1:24, there was nothing new. Production-wise, everything sounded too far away in the soundfield. I've heard of you before, Chris, and you've clearly got potential. You just need to develop the arrangement further and keep things engaging & fresh throughout. Introduce more ideas that further personalize the arrangement and make it unique. Keep at it, and take it to the next level. NO (resubmit)

Remixers: Red Tailed Fox, Bladiator Song: Smooth Tanooki Original: A Dangerous Road Game: Super Mario RPG Good night judges (It’s night over here in Brazil), This is an “old” song, but not in the depreciative sense: it’s old like…Cheese, or wine, or Larry, are old. At least I like to think so. Anyways, it’s a collaboration between me (Red Tailed Fox) and our very own Bladiator, who was kind enough to provide some delicious piano lines (the very core of this song) to the supporting instrumentation I did. The original is “Dangerous Road”, from the Mario RPG (the first one, the one which has a bunch of cool characters we never get to see again): we decided to spin it in a pseudo bossa nova type groove. Karl is worried that Larry’s new obsession of counting seconds of source usage might prevent this from going through, and I am worried that the production rough spots might bleep too much on zircon’s radar. We have a bet on it, and we shall see. Anyways, I love you all. Caio (RTF). --------------------------------------------------- http://ocremix.org/chip/6318 - "The Road is Full of Dangers" (smr-109.spc) Man, you weren't kidding when you said I'd be busting out the stopwatch. The track was 5:06-long, so I needed at least 153 second of overt source usage for the pass. :09-:12. :16-:26, :27.25-:40, :41.75-1:01, 1:03-1:06, 1:09-1:13, 1:31-1:36, 1:37-1:43, 1:52-1:57, 1:58.75-2:12, 2:20-2:23, 2:33-2:36, 2:40-2:43, 2:44.75-2:47, 2:48-2:50, 2:54-3:01, 3:08-3:17, 3:33.5-3:36.5, 3:38.5-3:40.5, 4:59.5-5:01.5 I've got 117.5 seconds or 38.4% by that count, and I counted a lot of already very liberal stuff. Love the track, but unless I get some clarification or other parts I'm missing, I can't sign off on this one. Maybe there's something between 3:41-4:59, but most of that was comping. Will be glad to change my vote if there's source usage I'm not picking up, but the treatment of the source was already very liberal to begin with. Sorry, guys, it's nothing against this piece. It's well performed, but sounds too disconnected from the source material in the second half. NO

Hahaha! I'm not even sure if he's claiming to be the artist, but in his responses to comments, he makes it seem like he represents OCR. That's awesome.

If only everyone would stop with "OCRemix" too. :'-( On another note, we may need to add a "holiday" tag to the mixes.

It begins...again! https://www.facebook.com/TheWingless/posts/10150541019450880 , John! Yet again! Everyone tell him to use Twitter: http://twitter.com/TheWingless ----------------------------------------------------------------------------------------- The Wingless gon' be riiiiich, beyotch! http://www.facebook.com/profile.php?v=feed&story_fbid=221083936182&id=702845879 , John! Everyone tell him to use Twitter: http://twitter.com/TheWingless

Funky freshness.