Easter, he took early mixes of the concert tapes to Dylan for the latter's approval. Of all the featured performers, only Leon Russell chose to intervene, necessitating a reworking of his "Jumpin' Jack Flash/Youngblood" medley, which he apparently remixed himself. Post-production on the Madison Square Garden recordings was minimal, the known examples being Harrison's double-tracked lead vocal on the bridges of "While My Guitar Gently Weeps", and a composite edit of his opening song, "Wah-Wah", which was assembled from both the shows. In addition, it is possible that Shankar and Khan's "Bangla Dhun" was severely edited down: Harrison later described their set as having lasted 45 minutes, yet the running time on the album is under 17 minutes and in the film just 15 minutes. The final mix down of the recordings, for album and film use, was carried out in Los Angeles in September, by A&M Studios engineers Norman Kinney and Steve Mitchell. In their joint interview for the 2005 Concert for Bangladesh Revisited documentary, Kinney and Mitchell confirm that music from both the afternoon (matinee) and evening performances was used for the concert film and live album; they also state that Spector repeatedly instructed them to increase the volume of the audience in the mixes, in a search for more "feel of the room" in the result. The second show was preferred when it came to selecting the best concert audio. The exceptions are as follows: "Wah-Wah", which starts off with the evening version but cuts to the matinee at 2:53; Harrison's band introduction and "While My Guitar Gently Weeps", both sourced from the first show; and Russell's medley, which is also from the matinee on the album, but in the concert film, the audio cuts to the evening show during "Youngblood". Harrison's geniality as a host was well represented on the recordings. As with Shankar's pre-"Bangla Dhun" address, Harrison's band introductions, complete with Russell and Voormann breaking into "Yellow Submarine" when Starr's name is mentioned, and his other on-stage dialogue – particularly the concert-sealing "Like to bring on a friend of us all ... Mr Bob Dylan" – would become as integral to the legacy of the event as the music itself. Record company obstruction On 23 August, press reports appeared citing "legal problems" as the reason behind the delaying of the much-anticipated live album – problems that would turn out to be a disagreement between EMI-owned