Chimpazilla

Hi OCR, I'm submitting my first Dj CUTMAN track in about eight years. Hope you like it. REMIXER NAME: Dj CUTMAN REAL NAME: Chris Davidson EMAIL: / Website: www.GameChops.com / www.VideoGameDJ.com / www.DjCUTMAN.com USERID: 32956 GAME: Pokemon X/Y (also found in Pokemon Black/White) REMIX TITLE: POKÉMOTION SOURCE: "Unwavering Emotions" COMMENTS: This is a very special track for me. I started working on a simple house remix for Grimecraft's POKÉP mixtape [ www.gamechops.com/grimecraft-pokep/ ], when the idea grew much larger. It started with a funky Daft Punk bassline and a simple sample recorded from my 3DS. As I worked, I felt this piece needed a larger sound that the sample could not provide. I re-programmed the piano line via MIDI, and sent it through Kontakt's a beautiful concert grand piano instrument. After that, the mix grew almost on it's own. I reached out to my sister, Emily Davidson, [ emilyplayscello.com ] to record some classical cello to fill out the largely synthetic mix. Her recording filled the song with a beautiful expressive sound I would have never been able to capture with a synth. Finally, I reached out to my friend and bass-player RobKTA, the man behind Club Needlemouse, [ gamechops.com/robkta-club-needlemouse ] to re-record my MIDI bassline with something more organic. The results blew me away, and after bouncing (several) mixes off of bLiNd and spending countless hours mixing, I finally came to settle on the final mix. Since most of my material is sample-based, I don't often have the opportunity to submit to OCR. I hope the judges enjoy this song as much as I have come to :] -Chris Davidson Management & Mastering www.GameChops.com

Remixer Name: Rexy (real name: Beverley Wooff) OCRemix user ID: 7528 Remix info:- Remix title: "Chips Out of Water" Game covered: Sonic CD Individual songs covered: Tidal Tempest (JP, all four versions!) --- After nearly a year of not submitting anything, I have returned to the judges' inbox. This track was done for OC Remix's Sonic CD project Temporal Duality, which I honestly swear is going to be AMAZING when it comes out. While Tidal Tempest (JP) wasn't exactly my first choice of track to mix when SuperiorX sent it around those that initially took interest, it did however present me with sweet ideas to work with on a sound design level. Knowing for sure that the JP soundtrack (my most preferred of the two) was ahead of its time, I felt the best approach would be to do something in a more contemporary style as of 2013 - 9-bit elements. In other words, "Rexy attempts to wear halc's shoes". Instrument-wise it's more stripped down than what I'd usually do - piano lead, 6-part Genesis soundfont work, bass, drums/percussion, strings and square lead. But to me, that's what Tidal Tempest feels like in comparison to the busier levels in the rest of the game - a water level so tranquil even the dreaded 'drowning' motif doesn't pop up. It still doesn't mean life is a breeze - one just needs to break out of the water that's binding them and find those directions to make a difference to the world. ...Yes, I know you can use the submerged springs in Act 1 to travel through time, but that's beside the point... Either way, I'm glad I got through the track - was a lot of fun to make. I would've liked to have spent more time listening to album WIPs and offering feedback, but considering that one of my biggest obstacles during this process was my physical health at the time - can't disclose what specifically but it did hinder my productivity during a fair chunk of 2013 - I feel really grateful I've been able to pull this off. But still, you got to give me credit for instigating interest in the Recruit & Collaborate sub-forum, right? Either way, thank you all for your time and hopefully it won't be ANOTHER year before I send something else your way. Peace out, -Rexy-

TheShaggyFreak William Chrapcynski http://www.pureshift.com user id: 25853 Name of Games Arranged: Final Fantasy IX and Final Fantasy XIII Name of Arrangement: SazhaFreyaSazh (featuring XPRTNovice) - Name of Individual Songs Arranged: Sazh's Theme - Freya's Theme - This remix was created for the Final Fantasy Crystal Clash contest and was used in round one. I wanted to keep with the jazz setting that's in Sazh's theme but I changed up the instrumentation quite a bit and it's also a bit more laid back and I wanted it to sound like it could be played by a live band. So, I tried to keep the instrumentation a towards the minimal side. I also wanted the recording to sound a bit dated which the main reason you may notice a tape hiss sound in the background. XPRTNovice (user id: 48347) was kind enough to lend me his sax skills for the alto sax part and it really added much to entire vibe. Most of the material is from Sazh's theme but Freya's lead line was added in as well. This was done per the rules of the Final Fantasy Crystal Clash contest. William 'Shaggy' Chrapcynski http://www.bsodcomic.net http://www.pureshift.com ------------------------------------------------------------ Sazh's Theme - Freya's Theme -

ReMixer Name: DusK Real Name: Dustin Branscum Website: http://www.itstartsatdusk.com User ID: 24328 Game: Sonic CD Arrangement Name: A World in Motion (Super Peel Out Edit) Song Arranged: "Sonic Boom-Opening Theme", "Sonic Boom-Closing Theme" (source names yanked from http://vgmdb.net/album/2292) Platform: Sega CD Composer: Spencer Nilsen Release Year: 1993 Source (Opening Theme): Source (Closing Theme): Comments: I did this track for Temporal Duality. When I first heard the "Opening Theme" version, I was like, "I could totally punk this out." And then I heard the "Closing Theme" version and that sealed the deal, and I made my claim. I really tied to capture a lot of elements from both versions and bring them in; the pace, guitar riffs, and chorus vocal timings from the "Opening Theme" version, and the vocal harmonies and overall feel of the bass from the "Closing Theme" version. Slapped it into a gritty punk track with slightly distorted, gainy vocals, prominent bass, and crunchy guitars reminiscent of 90s punk bands, and called it a day. Week. Several months, actually. Enjoy. opening theme ending theme

Neblix Nabeel Ansari http://neblixmusic.com 24123 Super Street Fighter IV (Yang's theme is remixed in this game but the Third Strike one is way better, so i will link that) "Demon in Hong Kong" Yang's theme , Oni's theme I did this remix initially for the Street Fighter remix tournament about one and a half years ago hosted on the site by Shariq. I just barely missed winning, and was knocked out the first round. I was disappointed, but it's probably the coolest remix I've ever done. It initially had a lot of character voice clips and game SFX to enhance rhythms, but it sounded cheesy, so when I repurposed the song for Apex 2013, I removed them. This was among other things, like adding the Kora/Synth solo later on for extension, and I also trimmed out some stuff that made the mix sound otherwise dry. I think OCR Staff had some issue with a bell texture I was using for some reason (still don't know what da hell they're talking about) so I swapped it out for those staccato strings that are heard later on. People liked this remix a lot, and I do too. I never submitted it because of a glaring issue in the song I was too lazy to fix until spontaneous decision this morning. So here you have it, my first submission to OCR in over a year. ---------------------------------------------------- DS EDIT: Yun and Yang's actual theme w/ melody http://www.youtube.com/watch?v=fGREyYiD4jM Yun & Yang theme Oni's theme

This is a very chill sounding mix. The instrumentation is pretty laid back, and remains at a similar vibe all the way through (changing only for Lavender Town), giving the track a good cohesiveness overall. Relaxing listen, but isn't it pretty much a straight medley? One source after another, with no revisiting or blending of sources? Gonna hear from others on this, also I need to listen to the sources carefully, before voting. edit 11/7/14: Ok so the track sounds pretty cohesive overall, only Lavender Town has a different sound, which is cool to break up the soundscape. Medleys are cool as long as they sound this cohesive. I have to agree with Andrew and Joel that the production could be a bit improved with some more panning/widening of some instruments, a little further balance work and a little more punch in the drums. Now, let's check source use: 0:00-0:45 Vermillion: wow, it's really heavily interpreted, I'm having to stretch my brain to hear it, but it is there 0:45-1:10 Cerulean: this part is a little easier to recognize 1:10-1:42 Cinnabar: yep, I hear it 1:42-2:23 Veridian: really interpreted, but it's there 2:23-2:50 Lavender: yes, but the background pattern only (would have liked some melody) 2:50-3:30 Celadon: last bit of Lavender, but then I really don't hear Celadon here, maybe some melody at 3:21-3:30, this part is too subtle and interpreted 3:30-4:16 Pallet: yeah I think it's there enough The source use mostly checks out for me, except I find Celadon too subtle. All of it is highly interpreted, which sounds nice but makes it much harder to identify. I think the production crits I have aren't enough to stop if from passing, and I still find this a chill and enjoyable listen. If it doesn't pass, I hope you'll address the panning and balance issues, bring the drums out a little better, and resubmit it quickly. YES

This has to be my favorite VGM song of all time. I love Song of Storms, so much. Interesting ideas here, I hear you about using new samples... but using sampled instruments, especially guitar, harp, and flute, things have got to be VERY well humanized, and especially when you've got a sparse-ish arrangement and lots of same-y arps going. (I'd recommend replacing some of the straight arp patterns with some flourishes or other variations, to break them up) The track starts out with just the guitar, and it sounds much too fake, with those three notes in particular (F-E-F) being identical in velocity. I'd recommend looking into how to humanize it, or layer it with something else to hide the fakeness just a bit, or vary the writing slightly somewhere (flourish or strummed chord maybe). (Same suggestion for the harp when it enters at 0:35) Then the flute comes in, and while it works better than the guitar in terms of realism, there aren't enough natural breathing breaks that tell me it *might* be real. Add some breathing breaks. I love this arrangement! But it needs to be humanized and/or layered, and yeah I'd suggest you make 2:14 to the end really epic, add some more textures there, some bigger drums or different patterns, maybe a countermelody, or something else to really make that last section pop, right to the end. NO (resubmit)

That snare still sounds really woody and too upfront to me, I still think it has too much in the mids. It's like the snare has a pitch and I really shouldn't be so aware of the pitch of a snare. It also seems to have too long of a tail. Honestly I just don't find this to be a good snare sample. But at least it is quieter. Too good an arrangement to hold back on just the snare anymore. Something to be aware of on future productions, though. YES

I think "going through the motions" describes my feelings about this track. The ideas are solid, the genre change is cool, Deep Purple for sure with that organ... but something's just... missing. If you're going to play it this close to the source material, the presentation really has to shine. This mix totally lacks energy which is a shame. The drums are soft and all center-panned, toms and crashes are all center panned, if just those crashes were widened, that would add a ton of energy right there. The panning that I do hear is a little extreme and sounds a bit odd. That organ which is so cool is just sitting dead center until 0:39 at which point suddenly it is very widely panned opposite the lead guitar, and at 0:54 it is back to the center, until the next chorus, etc. Not working for me. The crackling could be that shaker, maybe it isn't the best shaker sample or just needs its highs tamed. I'm not sure... I'm not hearing the crackling as strongly as the other two judges are. So yeah, a couple of extra interpretations, a more original section somewhere (how about a really wild organ or guitar solo?), and maybe a few more exciting sounds, some more stereo-wide-ish sounds (but without the extreme and changing panning), possibly a slight tempo increase, and this would turn some heads. NO (resubmit)

Happy Birthday bLiNd!!!

Happy birthday, Jose!!! (awesome cake, timaeus!)

ReMixer name: G-Mixer, Sir Jordanius Real name: Garrett Williamson, Jordan Etienne Website: http://facebook.com/GarrettWilliamsonMusic / http://www.youtube.com/SirJordanius (but you’ve already got all his info because he’s already a known ReMixer on the site) UserID: 39845 Name of game arranged: The Legend of Zelda: A Link to the Past Name of arrangement: “The Goddess Gets Groovy Tonight” Name of song arranged: “The Goddess Appears” Comments: I told Jordan I would either make no comments or speak for hours about this track. I decided the latter. Basically, I started working on this track a good year and a half ago. It was first inspired by “Chamber of the Goddess” by Disasterpeace from the Zelda 25th Anniversary ReMix Album done back in 2011. I really enjoyed the chill 70’s vibe it had going on and there was just this soft funk to it that I really loved. Now, “The Goddess Appears”, which ends up being a reoccurring theme in the Zelda series, is easily of my top 3 favorite Zelda compositions in the series. Something about its simple yet so complex arrangement and the magic that I hear when I play it just makes me love it so much. And I’m a guy who is obsessed with the more punchy and funkier sounds. Therefore, I decided I would do my own funky take on the track and make the song a mix of funk and pretty harps and glockenspiels. I submitted the track more than a year ago, but honestly something about it felt a bit unfinished. I wasn’t sure, but it just didn’t feel totally finished. Of course, I’m so ridiculously used to liking something and then sending it off and then freaking out noticing something I wish I had fixed. That’s how it goes. But there was just honestly stuff missing. And when I got an email back months later being informed that it didn’t even get to the judges, I decided to do a huge makeover on the song. But even then the track didn’t feel entirely finished when I entirely updated it and made it sound way better. I was still missing some of that funk. And that’s when Sir Jordanius comes in. And honestly, as much as you could call this my arrangement or my ReMix in general, there is absolutely no way this mix would’ve been so absolutely freaking amazing if Jordanius didn’t step in to give me his utterly sexy vocoder skills, funky guitar sounds, enjoyable occasional vocals, and absolutely beautiful horns. This mix would just sound bare and unfinished without the absolute beauty that Sir Jordanius gave it. So ginormous thanks to Mr. Jordanius for making this ReMix freaking beast. So now, far more than a year later, I’m just hoping this remix will at least make it to the judges. --Garrett Williamson--

Hello, here's a rearrangement from Vampire Variations II for consideration. ReMixer & real name: Eino Keskitalo e-mail: forum id: 20708 ReMixer name: Tuberz McGee Real name: Callum Kennedy e-mail: forum id: 44165 Name of game arranged: Castlevania: Rondo of Blood Name of Arrangement: Mechanical Salvation Name of individual song arranged: Requiem VBR1 MP3: FLAC. Source: Castlevania Rondo of Blood Music - Requiem (Save screen) Source breakdown: The source (a single melody line) is carried by the organ, the background guitarish thing in the middleish, and the lead guitar. 0:00-0:13 Intro, no source 0:13-0:33 The bg guitar plays the first two notes of each phrase of the source. Organ is vaguely following the source as well. 0:33-0:52 The bg guitar plays the source verbatim. The organ follows it too, with additional harmony writing 0:52-1:29 Lead guitar joins in, varying the first half of the source. The bg guitar goes back to playing the first two notes. Organ continues covering the source in full. 1:29-1:40 original section 1:40-1:49 Bg guitar plays a variation of the source. 1:49-1:58 original section 1:58-2:17 Organ plays the full source slightly reduced & varied. 2:17-2:34 Organ continues, lead guitar joins in to vary up the source melody again. 2:34-2:54 original section 2:54-3:03 Organ vaguely follows the source 3:03-3:22 Bg guitar plays the first half of the source twice, the second iteration with variations. Organ plays the source too. 3:22-3:32 Bg guitar plays the second half of the source with some variation, organ as well. 3:32-3:44 No direct source connection Arrangers' notes: Having successfully arranged another minimal Castlevania source, I grabbed Requiem for Vampire Variations II two months before the deadline. I underestimated the time I had to make the arrangement. I planned to record two guitar tracks, I pretty quickly sketched them up and made a cut-and-paste drum track from random samples with a placeholder organ to go with it, and put chip sounds in for the guitars. We also discussed making this a vocal track with my fiancée. The time to record any of that never materialized. Then one day *after* the final deadline I sent Chernabogue what I had, plus the thought of recruiting Tuberz for guitars since he had volunteered as a project resource, and our earlier Shell Shocked collab went quite nicely. I think the only thing I managed to do for the track in the two months was to add bits of the bass part (which is made from Chapman Stick samples). Fortunately Alex liked what he was hearing and was very supportive. Callum was enthusiastic about the track & quickly provided excellent guitar tracks, which by the way are quite different from what I could've come up with, providing what I feel is a distinct early 90s hard rock vibe. I did doctor them a bit, if you hear any nasty edits that's my fault. The wonderful response from these two guys super-energized me to be able to finish the track quickly (for my usual two-and-a-half-years standard). Good thing the placeholder drums and organ turned out to sound all right after varying them up a bit & mixing them properly! Here's what mr. McGee had to say: "My cat is cute, but likes to mute my guitar mid take by pressing her paws on the strings." cheers, --Eino -------------------------------------------------------------------------------------

This mix has multiple mixing and balance problems, but I like the ideas, writing and arrangement, and I want to make sure we give him some useful feedback. That opening lead is really plain, loud and piercing. I'd recommend adding some modulation like vibrato on it, and some delay (or replace the timbre outright with something more interesting and less painful). This timbre works during the little gated parts like at 0:19, but not for sustained notes. Your snare is super loud, too woody (take some mids out), and needs velocity variation during the machine-gun parts (every hit is the same). The snare is too much in-your-face because of these issues. The drum writing in general is varied enough, but that snare's gotta be tamed. Also, you've got one hat that is a little too loud, it is the open hat, the closed one is balanced perfectly. The lead at 0:48 is a bit generic but I really like the writing for that instrument. The lead at 2:24 is also generic, and too loud. The piano starting at 0:57 is too loud and that section gets repetitive, it is the same chords over and over until 1:36. How about some writing variation there? I like the pizz violins, they could be a little louder. I like the evolving synth in that section a lot. I like the siren sfx, siren could use some reverb. The gating at 2:19 is a little bit severe and makes me think there's a rendering error. I'm not totally sure there is enough source use, either. I'll give this another few listens. In the meantime, these production issues prevent the track from passing, but I think this mix holds a lot of promise! I want to hear this one again. NO (resubmit)

ReMixer : dicardozo Name: Alan Email: Userid: 52540 Game: Streets of Rage Song: The Street of Rage Arrangement: "Everything for Peace"

Contact Information Your ReMixer name: George Diamond Your real name: George Diamond Your email address: Your website:http://www.youtube.com/user/GeorgePlastiq , https://soundcloud.com/george-diam , https://www.facebook.com/george.diam Your userid (number, not name): 52726 Submission Information Name of game(s) arranged: Super Mario Land 2 , Six Golden Coins Name of arrangement: Wario vs Mario Name of individual song(s) arranged: Wario vs Mario Additional information about game including composer, system, etc. (if it has not yet been added to the site): Game composer: Totaka Kazumi , System: Gameboy (Original) Year:1992 Publisher: Nintendo Link to the original soundtrack (if it is not one of the sound archives already available on the site) Your own comments about the mix: Super Mario Land 2 Music is pretty inspiring all by itself. It's amazing how Totaka Kazumi managed to capture this Jazzy-Funky-Latin feeling only by using the gameboy's chiptune.The same feeling inspired me to Remix this song!

This mix sounds amazing. I would have DP'd this but I'm not sure about the source use. The ambiance is definitely there, the industrial drumming and cadence. I'm a bit concerned that the arrangement gets too liberal at times and would like other opinions. I will be listening to the mix and the sources quite a bit more myself. The mix is really enjoyable. I particularly like the electro interlude in the middle. The production is about as good as it gets, my only crit is that here and there, the bass gets just a bit boomy. Not enough to cry about. Very easy YES vote given enough source. edit 9/27/14: I've listened quite carefully to all three sources and did a source breakdown for myself. He has used more than enough source. I struggled to hear it initially, and it doesn't help that these sources are a bit sparce melody-wise. He has recreated the drum pattern from the ground source quite well using the cinematic drums which is great. He has woven the melody in and added his own interpretations beautifully. I especially like the strings, both legato and staccato sound great. If I include the drums-only sections as source use, I come up with 74% source. Now that I'm sure about the source use, I can give it the YES it deserves. Great mix! YES

ReMixer - RoeTaKa Name - Alex Roe UserID - 9374 Games Arranged - Operation WinBack Arrangement Name - S.C.A.T Songs Arranged - Since there wasn't a soundtrack release or track list I assume each track is named after the areas they were used. The main song is from the area 'Ground' and the next two songs are different versions of that based on your health that are used throughout the entire game. I'll just provide Youtube links of the soundtrack rip: Ground: Low Health: Critical Health: Game info - Operation WinBack (EU Title) / WinBack (US Title) Composers - Kaori Nakabai, Keiji Yamagishi, Tsutomu Hirasawa Systems - N64, Playstation 2 Comments: Operation WinBack was something I really looked forward to before it came out. It was riding off the success of Metal Gear Solid's release as an espionage game and was (at the time) exclusive to the N64. It hasn't held up well over time but it was a blast to play and really influenced cover based 3rd person shooters. The first thing that really hit me in the game was the first area's music. It was just so cool, simple but infectious. I played the game recently and when I heard it again I thought I have to remix this, it needs a modern cinematic arrangement. To me, this song was WinBack's theme and I really wanted this remix to come across that way. I get a little sad when I hear a great game tune that just doesn't have any remixes or coverage. Like Chaos Legion before, I feel like I gotta stick up for some of these games that I spent so much time with. I'm really happy with this remix for a bunch of reasons and I hope you guys like it too!

Super nice, detailed mix. Both vocals are top notch. Very enjoyable listen!

This is a very well produced track! It sounds remarkably similar to the original tune. So similar in fact, that I decided to lay them both together in my daw to see how they compare. Aside from a slight increase in tempo (just a couple of bpm), the arrangements and instrumentations are nearly identical all the way until 1:33. The remix has much better drums (they sound great), but the lead is identical as is the backing sequence pattern, chord structure and instrumentation. Production is darn-near stellar. That's a kick with some meat to it! I love the use of the clock sounds. Reeeeeeally conservative arrangement here. But it's working. Good stuff. YES

Hello Mr. DJP Here is my new remix. I hope you like it. It's a remix of the Amiga game "Harlequin" - a nice and jaunty tune which I've given a bit of a bombastic rework. It was produced in Reason 7, and I named it "Coming To Chimerica" after the fictional land in the game (and a hat-tip to the Eddie Murphy movie "Coming To America"). I hope you accept the remix - currently, Harlequin is lacking in recognition for its excellent soundtrack. Here's the details : Contact Information Your ReMixer name - Binster Your real name - Martin Binfield Your website - http://www.abandonedsheep.com Your userid - 1296 Submission Information Name of game(s) arranged - Harlequin (Amiga game) Name of arrangement - "Coming To Chimerica" Name of individual song(s) arranged - It seems to be called "ing3" in the source file, so I guess "In-game music 3"? Additional information about game including composer, system, etc. - Composer = Barry Leitch - System = Amiga - Publisher = Gremlin Graphics - Year = 1992 Link to the original soundtrack - http://www.lemonamiga.com/games/details.php?id=1224 source:

More source for sure. I absolutely love the various ways you chose to work the extra source in, you really kept it fresh while bringing that theme in several times. Some of that backing source is super subtle, perhaps too subtle. The piano at 1:45 could be louder, in fact the piano should really be the lead from 1:45 until 1:58, with the brass-synth stabs pushed to the background. At 3:04, the backing synth you added sounds great, and it should stay in the background, but could be a bit louder, or eq'd to come through just a bit better (it's really nice though). Be careful about panning it too hard to the right, though, keep panning subtle when you're going just to one side. That bass is written so well! The addition of that little bit of source in the bassline at 3:44 is dynamite. I haven't done a source comparison, I'll get to that shortly (unless Larry beats me to it!) (one can only hope) I'm getting used to the claps. The are almost so un-clap like, that they are more like a snappy snare. Huh, it's working. I like the brass synth. Yeah, it's a SYNTH. Not trying to be brass. Also, plenty of brass synth in the source! It's working. Given enough source usage, this is a pass for me. My production issues aren't enough to hold this one back. YES

original decision remixer: Nostalvania Alright, so here is the re-submission of my Sagat remix. I added more source material in several places: -1:22 - 1:34 E-Piano comping -1:48 - 2:01 Piano -3:08 - 3:40 Background Synth -3:47 - 3:50 Bass 3:53 - 4:07 Organ I also added a bit more reverb and delay to the brass. source:

resub #1 original decision Contact Information > ReMixer name: HeavenWraith > Real name: Antanas Palaitis > E-mail: > Website: http://www.heavenwraithmusic.net > Forum user ID: 50325 Submission Information > Game: Touhou: Mountain Of Faith > ReMix Name: Temple of the Omnisword > Original Name: Native Faith > Original Author: ZUN

I remember this one from last year in the wip forum. I felt at that time that the transition at 3:06 into the Kiss Me Goodbye source was awkward, and I still do. It feels like two songs jammed together. The intro consists of a teeny bit of piano from this same source, giving it a bit of a bookend feel, but the transition into the metal part right after the intro piano also feels awkward, and the piano sequencing sounds mechanical. The middle of the piece has some really good moments. The two themes there are woven fairly well. The guitar work and organ are definite highlights. Drum work is detailed and punchy. I'm not as big a fan of the choruses using the Blinded By Light theme, they sound a little forced into the arrangement, and the string sequencing there is rigid and unhumanized. I love the guitar work in the chorus sections but the strings are leaving me flat both times. Both choruses sound nearly identical. The soloing both synth and guitar after the second chorus are really fantastic. The second song that starts at 3:06 (yeah, it feels like two songs) is well done, Joe is wonderful on his sax as always. The piano sounds mechanical. The drums in this section could have been swapped out for something more jazzy, these heavy drums don't quite fit here but they are mixed well enough. Strings have the same unhumanized issues here but they are a bit more hidden so it isn't as much of a problem. My biggest gripe about this song is, "is this two songs or one?" I'm actually going to reserve my vote until I see what some others think... edit 9/27/14: I've just revisited this track, and my vote still covers my feelings about it. I still feel like this is two songs jammed together. Somehow, the gap needs to be bridged. As a suggestion, it would be great if you could find a way to bring in some more guitar in that last section (as Jivey also suggested), be careful not to crowd the mix while doing this though. I think that would do it for me, if it were executed well. NO (resubmit please!)