I'm curious to know what forum members think about the Beatles "Now & Then" retrospective? Standing out for me is the emphasis on Lennon's fun side in the video and a feeling of both reconciliation and closure.

I enjoyed the song, but wasn't interested in paying 20 euros for a 45. The video is is kinda interesting how it juxtaposes the new with the old and deals with problem of the missing members.

Normally I would steer away from watching videos that go with current songs as often they are done hastily under promo pressure and fail to match the creativity of the song, but found the video for this song a big exception. I'm guessing the orchestrated sections are in part a touching nod to George Martin's significant contribution towards the fab 4 success.

I took it for what it was and nothing more or less. I have always liked the song and have had the demo for donkeys now and we have heard the punter's recreations. Paul & Giles ended up doing a very tasteful job with it. Shame the MAL tech. wasn't around in 1996 when Paul's vocals were stronger and George could have participated at a higher level than he did (really not audible except for perhaps his acoustic strumming). It sounds like a Lennon solo song to me of course and the Beatle touches were not as pronounced as on Free as a Bird and Real Love.
The sleeve is one of the worst sleeves every designed. They could have even just used a version of the EMI photos from '62 and '69 on front and back and applied the MAL to Free as a Bird and Real Love and made it an EP of sorts. Anyway, I enjoyed it and on to Rubber Soul and Help.

I've not heard the revamped red and blue albums yet but have heard rumblings of disgruntlement concerning the new mix of 'Walrus'.Anyone heard that one yet?

Yeah, I have to go on the record for not being a fan of any of the Giles Martin remixes. They sound to me like what you would expect from someone whose formative music was not predominately created on instruments, but through samples or programs. I don’t know how much is his fault personally or just a feature of digital technology and A.I.
I am glad they are able to “improve” crummy cassette demos, but it verges on sacrilege to second guess the balancing decisions made on songs like Dear Prudence or Oh! Darling. Is it interesting to hear John and George’s backing vocals so prominently on the latter? Maybe once. Does it improve the song, which is perhaps Paul’s best vocals ever? It does not. In every case, the best thing I can say about a Giles Martin remix it is a “reimagining” of a Beatles song. There should be a prominent warning on every mix he makes that you’re getting something as egregious or more egregious than a Dexterization. These belong with the Love soundtrack in a separate category as creative reimaginings of Beatles songs. I Am the Walrus is the most egregious of the bunch, but I know I’ll be reaching for the 2014 versions of Red and Blue from the analogue tapes as they are before I play these again. I’ve justified keeping this Blue album for the Now and Then song, which is a bit of s stretch on an album called 1967-1970, but it is nice to hear.