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.