The Not-Remix

The Not-Remix is different from what people think of when they hear the term "remix". This type of remix doesn't set out to add a new backing track to pre-existing vocals, but is extremely similar to the original song. In fact, some people may not even realize that it is a remix. And that's the point. These remixes aren't made to be different; they're made to be "better" than the originals.

You may ask, "Why? What's the point?" Basically, to take advantage of modern technology, as well as fix or change around Gratuitous Panning and engineering errors that you couldn't at the time through modern technology. A song only available in mono could now be remixed into stereo, for example (if the original multi-track tapes are available). Or the original master tapes might be lost or damaged, so remixing might be the only way to get the song in optimal sound quality. When done right, these new mixes can give new life to old recording, as well as bring them up to more modern quality and mixing standards. On the other hand...

Of course, this is controversial if the new mixes are to replace the original ones, and can lead to a Keep Circulating the Tapes scenario for fans of the original mixes. Another point of contention with music fans is when these types of remixes are not advertised as such; do they really think we are going to look at the copyright information on the back to make sure it's the original mixes?

For remixes that are intended to substantially change the content of the music, see Rearrange the Song and Remix Album. See also Remaster, for when the original is not altered but the presentation quality is improved. Compare with Shot-for-Shot Remake in film.

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Examples

Alternative

• Red Hot Chili Peppers' Greatest Hits contains a remix of the single "Californication" (from the album Californication) instead of the single version. It doesn't differ hugely, but probably would piss off people buying the compilation for the track.
  • It also has a terrible remix of "Higher Ground" which may be because Warner just beefed up the original EMI CD version rather than using the master tapes.
  • The version of "My Friends" included is a nice surprise because it is the original unedited version of the song which had beforehand only appeared on bootlegs. The versions of the songs from the album "Californication" also appear newly mastered, sounding much better than the infamously mastered album they originally appeared on.
• Weezer have individual songs that were given a slightly different mix for their single versions:
  • "Say It Ain't So" received a subtle remix, which the band liked enough that they replaced the album version with it (the remastered deluxe version of The Blue Album has the original mix as a bonus track).
  • "The Good Life" and "Pink Triangle" were given a slight remix for the singles — the latter included newly recorded bass guitar part, played by someone from outside the band: It was decided the bassline needed some revising, but usual bassist Matt Sharp wasn't available due to work with his other group The Rentals, so Scott Riebling of Letters to Cleo filled in.
  • For the "Keep Fishin'" single, instead of remixing, the band just re-recorded it from scratch, adding an acoustic guitar in the intro and softening the overall sound slightly. Live performances of "Keep Fishin'" tended to be closer to the feel of the single version.
  • A single remix of "Hang On" replaced a mandolin part with electric guitar and added a guitar solo, making it just slightly heavier than the Power Ballad album version - unlike the previous examples there was never a commercial single release for the song, so this mix was exclusive to promotional only radio singles (as well as being used for a leaked, unfinished music video).
• Pearl Jam did this for their re-release of Ten. It was released so that both the original version was included and Brendan O'Brien's new mixes. They weren't very different, but the remix brought forth the instruments in many songs and allowed Eddie Vedder speaking as the bum in "Even Flow" to be finally heard.
• Starflyer 59's first two albums, Silver and Gold, were remastered for the former's tenth anniversary. Some fans praised the new mixes for sounding clearer, others criticized them for falling prey to the Loudness War.
• Feeder's "Shatter" was remixed for single release to be more radio friendly, less distorted and have wider panning.
• The Replacements included a new mix of the album Don't Tell A Soul on the box set Dead Man's Pop — the original version of the album was criticized by many (including the band themselves) for being too polished, so the remix removes some of the studio effects and even uses earlier, rougher takes of the songs.

Country

• Tracy Lawrence's Then & Now: The Hits Collection features re-recordings of his greatest hits done to match the originals as closely as possible (despite his Vocal Evolution). This was done because said hits were when he was on Atlantic Records, while the album itself was on Mercury Records.
• Trisha Yearwood's Greatest Hits album PrizeFighter had all of the songs re-recorded, not only because she was on another label (RCA Records) than the one on which she had her big hits (MCA), but also because she wanted to remove some "dated" production styles, such as the reverb on "Walkaway Joe", but otherwise keep the recording close to the original.
• "Meant To Be" by Bebe Rexha featuring Florida Georgia Line was given a slightly different mix for top 40 radio: Most notably, the regular version has Florida Georgia Line singing the whole first verse together and Bebe Rexha taking lead starting with the second verse, but for the "pop" version, Rexha sings both verses, with Florida Georgia Line's part being effectively reduced to backing vocals.
• Pat Green's "Wave on Wave", for the radio edit, took out the backing vocals on the line "The clouds broke out, the angels cried"... and nothing else.

Disco

• Infamously done with Boney M's 1992 Gold - 20 Super Hits best-of compilation, with the rhythm tracks being replaced by more "modern" and prominent ones. It's gone all the way to the point where it's become a common critical point about how hard it is to find original single mixes of songs by Boney M on CD.

Electronic

• Jean-Michel Jarre:
  • "Equinoxe 5", Jarres second big hit, was edited prior to the CD release of Équinoxe. The string sound playing along with the leads was eliminated entirely, the hi-hat now plays over the entire piece save for the first two bars, and some of the effect sounds were redone. The cassette got the CD mix, too, but the 12" record wasn't re-released along with the CD, so all Equinoxe albums and "Equinoxe 5" singles on vinyl that you find at second-hand record stores have the old mix.
  • In 2004, two compilations were released. The Essential was compiled and released by Francis Dreyfus to make money with Jarre's music that was still his property. Jarre himself produced Aero, but since he didn't have the rights to his own recordings, he had to "re-record" the music (and added three new pieces of music). On the one hand, he still used material from the original recordings because he still had the old multi-tracks — Dreyfus didn't hold the rights on these, so Jarre could do with them whatever he pleased as long as it sounded different from the original releases. On the other hand, he also produced 5.1 mixes while he was already "not-remixing" his music.
• Trans-X's "Living on Video" received a 1985 remix that had punchier drums, a sharper bassline, and more reverb on the vocals, but was otherwise unchanged from the original; this version became a top 10 hit in the UK and their only chart entry in the US. The CD and digital reissues of the Living on Video album, however, reverted to the original mix.
• Yellow Magic Orchestra has two noteworthy examples:
  • The US version of the band's self-titled debut album, remixed by acclaimed audio engineer Al Schmitt for A&M Records, features a punchier equalization and added reverb. "Tong Poo" has Minako Yoshida's vocals from the "Special DJ Copy" restored, the synth organ in "Bridge over Troubled Music" takes up the whole song instead of just the latter half, extra percussion and piano parts are added to it and "Mad Pierrot" (respectively), and the inter-track transitions on side two are altered. Notably, the band seems to have accepted this version of the album as the canonical one, prioritizing it over the Japanese one in most reissue campaigns.
  • Early CD releases of BGM (including the 1992 Restless CD, which to this day is still the only US CD release of the album) featured a slightly altered mix on the track "Happy End", in which the metallic sound that appears in the second half of the song comes in cold rather than gradually fading in. The original LP mix of the song would not appear on CD until the 1999 remasters of the band's back-catalog, and since then it has been standard across formats.
• Skaven's second version of his 1994 MOD song "Data Jack" , which is the one used in Bejeweled, is sped up slightly from the original version, and omits the mid-song bridge section (the patterns for it are still present in the S3M file, but Dummied Out).

Experimental

• Frank Zappa remixed and re-recorded some parts of We're Only in It for the Money and Cruising with Ruben & the Jets in 1984 with New-Wave style sounds. Not surprisingly, fans were pissed, and as a result, Zappa's estate restored and released Money to its original form in 1995, while the original mix of Ruben wouldn't appear again until 2010.

Folk/Folk Rock

• The Warner (Bros.) Records CD issues of Peter, Paul and Mary's 1960s catalog are remixed from the multitracks by Lee Herschberg and Peter Yarrow to make the music sound more "current" for the time with added reverb, etc. in 1989. The Very Best Of compilation and the Carry It On boxed set on Rhino revert to the original mixes and audiophile labels have issued some of their albums on SACD using the original mixes.
• Gordon Lightfoot's career-spanning compilation Gord's Gold. Released on Reprise in 1975, includes new recordings of songs he'd originally done at United Artists (such as "Canadian Railroad Trilogy", "Early Morning Rain", etc.) as not only does UA/Universal still own the 60s catalog, the sound of the 60s material didn't match the 70s catalog in style, and half original Reprise material including "If You Could Read My Mind," "Sundown," "Rainy Day People," "Carefree Highway" among other tracks. The 1988 compilation Gord's Gold Volume 2 contains the bulk of the material in re-recorded form, including "The Wreck of The Edmund Fitzgerald," with the 4 original recordings of classic recordings being "Make Way (For the Lady)," "Ghosts Of Cape Horn," "Baby Step Back," and "It's Worth Believin'." The Songbook boxed set and the Complete Greatest Hits compilations on Rhino revert to 100% originals, including the UA material being licensed from EMI^note UA was bought by EMI, which was in turn bought by Universal., while The Complete Singles 1970-1980 on Real Gone Music features the A and B-Side of every charted single from that time span with all original versions.
• Donovan's best-selling Greatest Hits from 1969 included updated for the time re-recordings of his Pye/Hickory hits "Catch The Wind" and "Colours," until the 1999 remastered and expanded reissue which reverts to the original Pye/Hickory recordings of those 2 tracks being licensed from Sanctuary and adds 4 more songs that charted after the compilation originally came out. This compilation is also notable for including the full length "Sunshine Superman" in stereo at 4:32 while the original mono single, which appears on the Sunshine Superman album, is 3:15.
• On John Denver's first 2 Greatest Hits album, he re-recorded any song that was not a major hit for him although other artists often covered the songs and made them hits, and in the case of the first volume of Greatest Hits from 1973, the re-recordings are often much preferred by many fans over the originals. Only the 3rd volume of Greatest Hits consisted of 100% original recordings among the original 3 Greatest Hits collections. The original recordings that appear on the first 2 volumes of Greatest Hits were the major hits. More comprehensive compilations spanning his career on RCA such as single CD compilations (e.g. Definitive All Time Greatest Hits, Greatest Country Hits), 2 CD compilations (e.g. Rocky Mountain Collection, The Very Best of John Denver comp on Heartland Music, the Sony/Legacy Essential John Denver, etc.), boxed sets (e.g. The Country Roads Collection, All of My Memories) revert to 100% originals. The Song's Best Friend compilation issued in the United Kingdom consists of all remixes of many of his biggest hits.

Jazz

• Post-1992 reissues of Miles Davis' Kind of Blue fix an error on Side 1 where it was mastered at the wrong speed.

J-Pop

• When Ayumi Hamasaki released A COMPLETE in 2008, her biggest hit M suddenly lacked its guitar solo, which had been replaced by synths. Aside from that the song was exactly the same, slightly remastered maybe.

Metal

• Megadeth's first eight albums were completely remixed and released, and consequently the original mixes were taken out of print. The first album, done well before the rest, was a simple clean-up job using more resources and better equipment. Other than censoring out any changed lyrics in their "These Boots" cover, reception was very positive. On the rest, however, many things were changed due to missing tracks: several songs would be missing vocals or individual instrument tracks, so alternate takes would be used or in some cases re-recorded personally by Dave Mustaine. Some tracks were altered to undo any Executive Meddling (certain arrangements on later albums), and the drums on earlier albums were overdubbed with triggered samples. Reception was mixed, though the bonus tracks (unreleased music, demos, or rough mixes) were received well.
• Die Krupps' Greatest Hits album Too Much History consists primarily of this. Jürgen Engler said this was because he felt unsatisfied with the older versions, and that it would be more fair to the fans to give them some new material.
• In 2023, Max and Igor Cavalera released re-recordings of Sepultura's first EP and studio album respectively, Bestial Devastation and Morbid Visions under the "Cavalera" name, itself an alternate name for their current group Cavalera Conspiracy.

New Wave

• The Police Greatest Hits Album Message in a Bottle: The Classics includes a "New Classic Rock Mix" of "Message in a Bottle" alongside the original: the most noticeable difference in the remix is that the guitars are a bit louder and the bass is a bit quieter.
• Simple Minds were fond of these remixes in The '80s. Last used on 'War Babies' from 1998, it made a comeback a decade later in the 'Graffiti Soul' and 'Lostboy' periods. To satisfy fan interest the band usually releases the remixes on iTunes.
• The B-52s "6060-842" was remixed for single release to make Fred Schneider's vocals more prominent in the mix than they are on the album version (this is immediately noticeable in the intro). When releasing the album on CD, Island accidentally included this version on the album instead of the album version. The original mix is only available on that on the Warner CD.
  • In 1990, the band remixed "Party Mix" and "Mesopotamia" as they weren't happy with the original mixes. Whilst Party Mix is a simple case of bringing up the percussion, 'Mesopotamia' is a more pronounced case of this trope. There is a notable difference in 'Deep Sleep', as they turned off some of the delay. Elsewhere there are a significant amount of panning differences (notably, the harmony vocals will be panned to different channels to hear them separately and Ricky Wilson's guitar jumps to different channels). They were planning to do this with other albums but the project fell through. Fred Schneider did however remix his own first album 'Fred Schneider and the Shake Society' around the same time.
• The version of Frankie Goes to Hollywood's "Relax" that reached #5 in 1993 (widely nicknamed the "Classic 1993 Version", to promote a Greatest Hits Album) has a similar-but-not-identical backing track when compared to the 7" version.
• Information Society's original independent label release of "Running" had rather poorly-performed chorus vocals, so they pulled it shortly afterwards and hired freestyle DJ-producer Joey Gardner from Tommy Boy Records to remix it, completely reworking the chorus. The only other differences in this version are the slightly tweaked intro and ending. Their 1988 Self-Titled Album and all subsequent issues use the remix.
• Michael Sembello's "Maniac", originally released on his album The Bossa Nova Hotel, was retooled slightly for the Flashdance soundtrack.

Pop

• Pet Sounds by The Beach Boys was originally released in Mono. It has been remixed several times:
  • A new stereo mix was made in 1997, originally as a part of 'The Pet Sounds Sessions'. It was later released separately in 1999.
  • The album was re-released in 2001 with a new stereo mix, the original mono mix and a bonus track. This remix is based on the one in 1997, but with a few differences; certain vocal parts that were missing from the original multi-tracks were 'extracted' from the original mono mix and integrated them into the stereo mixes.
  • A new mono mix was made in 2006 for the 40th Anniversary Edition of Pet Sounds (CD + DVD). The DVD also contains stereo and surround sound mixes.
• The Everly Brothers' The Very Best of The Everly Brothers compilation, issued by Warner Bros. in 1964, contains half of the material being stereo re-recordings of several of their biggest hits on Cadence Records including Bye Bye Love, Wake Up Little Susie, All I Have To Do Is Dream, etc. and half original Warner Bros. hits including Cathy's Clown, Crying In The Rain, Ebony Eyes, Walk Right Back, etc. Although there have been many comprehensive compilations of their original Cadence hits and compilations of their Warner Bros. hits since this compilation came out, The Very Best Of... has never gone out of print and for a time in the 1960s, this was the only compilation of anything resembling their Cadence Records hits in print.
• Many compilations of Neil Diamond's hits do contain re-recordings or live recordings in some manner. On comprehensive compilations that were issued by Columbia that claimed to span his career, often times, only the 1960s hits on Bang Records and the 1970s-1980s hits on Columbia are originals while those on Uni/MCA were live recordings, and on MCA issued comps such as Glory Road, the songs from the Bang era are live versions. On original vinyl issues and 1996 CD issues of his best selling "His 12 Greatest Hits," Sweet Caroline and Holly Holy are represented by live versions while on the Half Speed Mastered LP and the 1985 CD issue of it, Sweet Caroline and Holly Holy are the originals with some remixing done. There have been multiple mono and stereo mixes of the Bang recordings that were done in the 1960s that each compilation of this era of his work on LP either has mono mixes, stereo LP versions, first time stereo mixes for songs never released in stereo, etc. The only comprehensive compilations that uses all of the originals of everything are the "In My Lifetime" boxed set issued by Columbia and the 50th Anniversary Collection issued by Capitol.
• Harry Nilsson's Aerial Pandemonium Ballet consists of not-remixes of songs from his first two proper albums, Pandemonium Shadow Show and Aerial Ballet: Said albums had fallen out of print, but Nilsson opted to tweak songs from both albums and combine the results rather than do a straight reissue, feeling the production had already become dated in the few years since the original releases. Some vocals were re-recorded, but otherwise nothing new was added to the songs, which were instead remixed, slowed down, edited or some combination thereof.
• Taylor Swift got into a bitter legal dispute regarding the ownership of her first six albums^note Her self-titled debut, Fearless, Speak Now, Red, 1989, and reputation following her departure from Big Machine Records in 2017, where a concurrent exchange of hands resulted in her master recordings being passed onto management that adamantly refused to sell them back to her. After much legal tribulation, Swift got around this by deciding to re-record all of said albums, which her new contract with Republic Records ensured would allow her to regain full creative control of her music. This began her "Taylor's Version" series, kicked off with Fearless (Taylor's Version) in 2021, featuring the same songwriting, but with updated production and vocal performances, as well as some extra goodies in the form of previously-cut songs.
• Ed Sheeran's hit single "Shape of You" has two versions with the exact same instrumental: one with just Ed, and another with a rapped second verse by the British rapper Stormzy, which also includes a shared bridge between the duo.

Progressive Rock

• Starting in 2009, King Crimson's albums are being reissued, with new 5.1 and stereo mixes where possible (some of the original multitrack recordings, such as for "The Devil's Triangle", are missing).
  • Also, similar to the Ozzy Osbourne albums mentioned above, the compilation Frame by Frame: The Essential King Crimson had a remix of "Cadence and Cascade" with Gordon Haskell's vocal part replaced by a new part sung by Adrian Belew and a remix of "Bolero - The Peacock's Tale" with Haskell's bass part replaced by a new part played by Tony Levin, due to a royalty dispute with Haskell (which has since been resolved). However, these remixes were not used on reissues of the original albums (the Frame by Frame mix of "Bolero" is included as a bonus track on the newest reissue of Lizard).
• The 2008 Genesis remasters. The mixes brought a lot of softer parts out (the counter-melody lyrics at the end of "Lilywhite Lilith", for example. It especially takes "The Battle of Epping Forest" much further away from Ending Fatigue than the original CD release), but the mixes are quite controversial among Genesis fans due to their compressed mastering and liberties with the original mixes (including alternate vocal takes in some places on the Gabriel albums).
• Ayreon, who rerecorded a good chunk of the instruments for Actual Fantasy Revisited, due to tape loss, getting Gore to drum, thinking he could do it better, and an epic 5.1 release, and again to get Dawn of A Million Souls on the Rock Band Network.
• Porcupine Tree's records Voyage 34 (1992), Up the Downstair (1993), and The Sky Moves Sideways (1995) were remixed in 2003-2005, in order to replace the original drum tracks (made with a drum machine) with new ones played on real drums. Also, Stupid Dream (1999) and Lightbulb Sun (2000) had new 5.1 and stereo mixes released in 2006/2008.
• Rush's 2002 album Vapor Trails was highly criticized as being a casualty of the Loudness War, which is why it was remixed from the original masters to give it better dynamic range and re-released in 2013, including a vinyl pressing.
• Pink Floyd's box set The Later Years 1987–2019 includes an "updated and remixed" version of A Momentary Lapse of Reason. It's "updated" in that the drums and keyboard parts have been replaced to give members Nick Mason and Richard Wright more presence on the album: Mason didn't drum on every song on the original version so he recorded new drum parts for the songs he wasn't present on. Meanwhile, Wright barely contributed to the original album (as he was hired after most of the keyboard parts were already completed) and had passed away by the time the remix was being prepared; his parts were isolated from live performances of the songs and added to the studio recordings. The remixed album would receive a standalone release in 2021.
  • A stereo and 5.1 remix of Pink Floyd's Animals was also done in 2018, but its release was delayed until 2022 due to disputes between Roger Waters and David Gilmour.
• Steven Wilson has become known for his modern remixes of many legendary progressive rock albums, notably Jethro Tull’s Aqualung and Yes’ Tales From Topographic Oceans.

Psychedelic rock

• The Doors' six principal studio albums were remixed in 2007 for the band's 40th anniversary, and were appropriately enough called the '40th Anniversary Mixes'. The albums also had bonus tracks, including alternate takes and unreleased songs. General response has been average.
• The Flaming Lips' The Soft Bulletin is mainly produced by Dave Fridmann, but as potential singles, "Race for the Prize" and "Waitin' for a Superman" were given somewhat different mixes by Peter Mokran, who mostly mixes or engineers for pop and R & B artists like R. Kelly. They couldn't decide which versions of the songs should go on the album, and ultimately ended up including both versions of both songs by tacking on Fridmann's mixes of "Race for the Prize" and Mokran's mix of "Waiting For A Superman" at the end of the track listing. Oddly, the Mokran version of "Buggin'" is listed as a "remix" on the packaging despite the fact that the original mix was only released on The Soft Bulletin 5.1 in 2006 - more than 16 years later. Also, the band made "stereo mixes" of a few songs from Zaireeka (an album consisting of four discs meant to be played simultaneously) and used them as The Soft Bulletin b-sides.

Punk

• The Stooges:
  • The Stooges (Album): John Cale originally planned to use a different mix from what ended up on the final release of the album, but it was rejected by the record company. However, it would later appear on reissues of the album alongside the mix from the original 1969 release.
  • Iggy Pop remixed Raw Power in 1997. This was particularly divisive — Raw Power was originally supposed to sound over-loud, crunchy, and ugly, and a lot of people think Iggy's remixes of the album are much more like how the songs were supposed to sound. Others, including two of Iggy's bandmates criticised the mix.
    The brickwalling is so bad that no one remembers how muffled and awful the original released mix was. It sounds like heaven in comparison. The original tapes were themselves poorly recorded by Iggy (all the instruments were on one channel and the vocals on the other; David Bowie said that the only real thing he could do was "push the faders up and down a lot"), rumor has it that cocaine is to blame. It's sad, since the songs are the best The Stooges ever did.
    Thankfully, when the original mix was issued on the Master Edition of Raw Power in 2010, they remastered it and improved it considerably.
    The 1997 remix got remastered for 2012 Record Store Day and it's also a surprise improvement while being free of clipping.

Rock

• Most of The Who's catalog was remixed in the mid 1990's, either for the 1994 boxset Thirty Years of Maximum R&B, the 1996 compilation My Generation - The Very Best Of The Who, and/or individual album reissues during that period. Most notably, the two F-bombs in the song "Who Are You" are much more audible in the '96 remix; they were obscured by quickly lowering the vocals and raising the drums in the original mix. Compilations starting from the early 2000's and later deluxe editions of the albums reverted to the original mixes, but the standard single CD releases and digital/streaming releases outside the iTunes Store and Apple Music still use the 1996 remixes.
• Three of Ozzy Osbourne's albums have been remixed:
  • The '02 reissues of Blizzard of Ozz and Diary of a Madman had the original drums and bass parts replaced. This was so Ozzy could avoid paying royalties to Lee Kerslake (Drums) and Bob Daisley (Bass), who sued him for unpaid royalties back in '86. Many fans were ... 'displeased'. The 2011 reissues restored the original drum and bass parts
  • "Bark at the Moon" was also remixed in 2002. Some guitar parts are missing. What?
• John Lennon's entire Apple catalog was remixed in the early 2000s, along with some bonus tracks on each album, and in some cases different artwork was used. That was all supervised by Yoko Ono. Her reputation, as well as rumors that the mixes were brickwalled, means that this was never gonna please fans. The 2010 masters by the same team who remastered the Beatles in '09 used the original mixes, and are still standard, though new remixes of Imagine and John Lennon/Plastic Ono Band were released in 2018 and 2021 respectively along with Gimme Some Truth, a compilation of remixed tracks, in 2020, and the 2010 remaster of Double Fantasy included a "stripped down" version of the album removing much of the original album's production flourishes alongside the original.
• The Beatles are no stranger to this trope, given that the bulk of their output came out during a time when stereo mixing was still highly primitive and oftentimes amounted to nothing past Gratuitous Panning.
  • Help! and Rubber Soul were remixed for their original CD releases in 1987 by George Martin, who considered the original stereo mixes of these albums experimental and not very good (a consensus shared by fans as well). He had intended to remix the first four albums as well, but was not given enough time to by EMI, leading those albums to receive mono releases only. When The Beatles' catalog was remastered in 2009, the 1987 George Martin remixes were used for the stereo version of the albums; the original stereo mixes showed up as 'bonuses' on the mono discs.
  • Sgt. Pepper's Lonely Hearts Club Band had a notoriously bad stereo mix, so it was given a brand new stereo mix in 2017 by George Martin's son Giles (George had already been dead for a year), using newly digitized first-generation tapes. This resulted in a modern-sounding stereo composition. The result was very-well received, so much so that similar 50th anniversary remixes were given to The White Album, Abbey Road and Let It Be (which did have more well-planned-out stereo mixes on their original releases, making the decision to remix them a bit odd beyond being standard Milestone Celebration fare). Revolver also received a remix in 2022 not tied to any anniversary celebration, this time using AI separation technology developed for The Beatles: Get Back.
• George Harrison's All Things Must Pass was remixed for its 50th anniversary in 2021. Harrison had previously wanted to remix the album, having been unhappy with its Wall of Sound production, prior to his death but it didn't come to pass at the time.
• David Bowie's music has gone through this trope a few times in recent years:
  • The Rise and Fall of Ziggy Stardust and the Spiders from Mars got one in 2003 by producer Ken Scott; it was first included on an audio DVD as part of the 40th anniversary re-release of the album, before later being included on CD with the Five Years [1969-1973] Boxed Set.
  • Station to Station received a not-remix in 2010 from producer Harry Maslin, included on an audio DVD as part of the album's Deluxe Edition release that year. It was later released on CD as part of the Who Can I Be Now? [1974-1976] Boxed Set.
  • Lodger got a not-remix in 2017 from producer Tony Visconti exclusively for the A New Career in a New Town [1977-1982] Boxed Set. Unlike previous examples, this particular not-remix had some heavier and more noticeable alterations from the original release. Visconti attests that the 2017 remix was meant to better realize his original vision for the album's production.
  • Space Oddity received a not-remix for its semicentennial in 2019, once again at the hands of original producer Tony Visconti, who brought it more in-line with the Giles Martin remixes of The Beatles' latter-day output.
  • In time for its own 50th anniversary, The Man Who Sold the World, whose title was changed its working title, Metrobolist, featured a reissue for which Visconti altered the mixing for every track except for "After All". The album features, among other things, a more prominent drum track. According to the press release, Visconti's justification for retaining the 1970 mix of "After All", the only song to be given such a treatment in the 2020 release, is that he felt it was already perfect as it was. While that might be true, it's also true that the song's master tapes are currently missing.
• In 1987, ZZ Top released a Boxed Set titled Six Pack, featuring not-remixes of six of their first seven albums^note Degüello was not included— the band opted to remix the songs and add drum machines and occasional guitar effects, with the intention of making their early work sound more in line with their more commercially successful 80's material. Fans of their more straight blues-rock 70's sound were not happy. Tres Hombres and Fandango! had their original mixes restored for individual re-releases— if you buy a new CD copy of any of the other early albums, chances are you're getting the 1987 remixed version, unless you buy "The Complete Studio Albums" boxed set on Rhino from 2015 which consists of all original mixes of everything, including the 6 albums that were remixed in 1987.
• Quiet Riot's first two albums, which were only released in Japan, were notable for featuring future Ozzy Osbourne guitarist Randy Rhoads. Randy had never been satisfied with the way his guitar sounded on those recordings, so after his death, his family was against a straight reissue. Instead, a compilation called The Randy Rhoads Years was released, featuring six remixed songs from the two albums alongside previously unreleased material: Quiet Riot vocalist Kevin Dubrow remixed the songs at the Rhoads family's behest, doing things like running Randy's guitar tracks through a better quality amp than what was used for the sessions, or adding a wah effect to a guitar solo because Rhoads had wanted to use a wah pedal but didn't have access to one.
• Twisted Sister's 2004 album "Still Hungry" is a rerecording of their 1984 Breakthrough Hit "Stay Hungry", featuring some unreleased material and a musical sound that is meant to be truer to their original vision with less Hair Metal glam.
• Different versions of Aerosmith's "Don't Wanna Miss A Thing" single had a "rock remix" of either the title song or Nine Lives album track "Taste Of India" as one of its two B Sides. Both eliminate the orchestral elements of the songs and turn the guitar tracks up. It's more noticeable in "I Don't Wanna Miss A Thing", especially because the intro of the Armageddon soundtrack version is entirely played by an orchestra, so the "rock remix" just edits that section out and has a Lyrical Cold Open instead.

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