Rather than being the "alternate stylistic" or melodic explorations cited by some rock historians, the numerous extant versions of "Belchertown" are better explained medically than musically: for each version we must envision a concordant hops-induced blackout suffered by Skunky while attempting to complete this, his "six-pack opus". There are as many "mixes" of the song as there were Skunky blackouts in that final week of recording at So-So.

Despite his total lack of recollection of any detail of any version immediately after completing one, Skunky outdoes himself technically. In what is commonly held as the 'stock' version of the song the interplay between Skunky's bass and overdubbed guitar and Pilsener Beer's twin saxophones is truly amazing, the four parts stumbling over one another in elegant chaos, like blind deer in a forest. Indeed, while many producers and engineers would listen to a final mix in the car before certifying it as solid, in this case the saxophones sound as though they'd actually been recorded in the car, or perhaps in a gravity-free location such as the Moon; how else to explain the jolting difference in spatial characteristics between the wonderfully sonorous sax parts and ... well, everything else?

Despite the odds many Hipsters decided this was purposeful on Skunky's part, and emulated what came to be called "the blackout sound", leading one prominent critic to remark "Phil Spector may have created the Wall of Sound, but Skunky Beer was the first to actually run into it."