The 2007 re-issue of Here, My Dear brought with it a second CD with each song from the original album remixed and re-imagined by various producers and artists who sought to retell the story of Marvin and Anna’s divorce. Each track is remixed by a different producer with nothing new added. Just recording sessions, Marvin’s voice and the original instrumentation. The concept was this: Reissue Here, My Dear, Marvin’s overlooked masterpiece, but, given its compellingly brilliant tracks, supplement the original with fresh mixes from some of today’s most innovative producers. Even more than Marvin’s previous ‘70s albums, Here, My Dear seemed a natural for deeper exploration. How did he get there? How were the grooves built? What about all those solos underneath his voice? Finding out was an adventure. Session tapes were difficult to locate. Every song started out with a different title. Some songs are alternate stitches of the same quilt. “Here, My Dear” used the same music bed as “Everybody Needs Love”; “A Funky Space Reincarnation” grew out of the breakdown of “Anger.” Additionally, Motown’s multi-track reels for “Anna’s Song”, “Sparrow” and “Is That Enough” are missing vocals. Then there were a couple of surprise discoveries. “Is That Enough” evolved from an instrumental jam recorded two years before Here, My Dear; and two, thanks to our colleagues at Sony BMW, that the posthumously released song “Ain’t It Funny” originated during the album’s sessions. What was on those tapes was exciting. But everything was raw, unmixed- sketchbooks with no form. Clearly this was a job for more than one curator. A call went out to select mixers, artists and producers. They were given straightforward instructions: Pick one song. Mix it as if you were there. Bring it old-school. No overdubs, no samples. Just Marvin and his band – Album liner notes