Post ya favorite Beatles song:

[cwsox]

Arrrgh!  How about California?  I know it was supposed to be his western song.  I think the lyric is Black Mountain hills, not black mining hills, but you are right there is no directional reference to which of the Dakotas is being referenced.

 

Two Rocky-related trivia questions. 

 

1) How does the doctor 'stinking of gin' tie into the whole Paul is Dead hoax mythology?

 

2) Where was the song written, and what non-Beatle helped come up with the lyrics (uncredited)?

 

Boy, this sure beats doing the work I'm supposed to be doing... 

I'll grant you Black Mountain Hills as being correct

 

The original location was Minnesota

 

I useds to know but forgot the other two things you asked

[FlaSoxxJim]

I'll grant you Black Mountain Hills as being correct

 

The original location was Minnesota

 

I useds to know but forgot the other two things you asked

Paul's moped accident that left him with the chipped tooth and the lip scar landed him in a hospital with an inebriated doctor who attended to his injuries. The poorly fixed lip resulted in a supposed "shaving scar" on supposed faux Paul William Campbell - further PROOF that Paul is dead, man.

 

Rocky was written while hanging out on the Maharishi's roof in Rishikesh, with John and Mr. Mellow Yellow Donovan.

[aboz56]

Joe Orton had fun in his time but died poorly.  Always pick your lovers well, I always say.

 

Aboz: your description of Please Please Me as the worst is uh, something I strongly disagree with.  We are in the world of English vs US releases anyway here but I fear that those who were not alive then and did not know the music then can't evaluate that properly.  It was revolutionary and it ought be rated far higher than you do.  You also omit Hey Jude,  Magical Mytsery Tour and Yellow Submarine and never knew some of the more fun compliations, like Rock and Roll Music and Love Songs.

 

 

Of course if I master the disc burning process I will send you a copy of Hey Jude the album. 

 

I still intend to send you and Jim and others the alt Hey Jude stuff I got.

CW, U.S. releases to me are meaningless...The Beatles themselves disagreed basically with the content of every US release and at times didn't even know exactly what songs were on the US release...Our prof. told a funny story that they saw what was on one US release when they were walking through a music store while in the US and to their surprise, songs that they hadn't even planned to have on a US release were on them. The real stock in Beatles music is in the UK releases, which the Beatles for the most part had control over 100%. Now I do understand that you probably were a younger listener at the time when these albums were put out in the US, so to you, these are the Beatle albums. But for history's sake, the Beatles thought of the UK albums as the true albums, which are as follows:

 

Please Please Me

With the Beatles

A Hard Day's Night

Beatles For Sale

Help!

Rubber Soul

Revolver

Sgt. Pepper's Lonely Heart's Club Band

The White Album

Magical Mystery Tour (only had four new songs, but still considered an album)

Abbey Road

Let It Be

 

Yellow Submarine and Hey Jude were not official Beatle albums in the UK, that is why I don't include them.

 

Of course, if you are talking release, Let It Be was released after Abbey Road, but Abbey Road was their last album recorded.

[aboz56]

released as an official Beatles release or just an Anthology find as you cheaterly use your cheaterly cds?

 

I still maintain, in their lives, the only Buddy Holly song released on vinyl was Words of Love unless you can supply more info.

In terms of official Beatle albums & singles (UK versions) only one Buddy Holly song was covered....

 

Here is the answer to that trivia along with the song title and album it was on:

 

Larry Williams and Carl Perkins covered 3 times each

 

Williams:

Kansas City (Beatles For Sale)

Dizzy Miss Lizzy (Help!)

Slow Down (on UK EP Long Tail Sally)

 

Perkins:

Matchbox (Single; also on EP Long Tail Sally)

Honey Don't (Beatles for Sale)

Everybody's Trying To Be My Baby (Beatles For Sale)

 

This could be up for debate I'd suppose, but I am going to go with my Prof. (a beatle historian) on this one.

[cwsox]

CW, U.S. releases to me are meaningless...

Mr. Aboz, because everything you say I take seriously, I have been thinking about this since you posted it. Part of my reflection is something that was a very living part of my life (and still has) has been already turned into an academic subject - now that makes me feel old indeed - and your perspective as a student (student in the best of senses, such as, I am a student of Bonhoefer's theology) certainly highlights in my mind the distinctions that we make in history once it becomes history. For example, I could list the five reactions to the year 1517 (Reformation, Counter Reformation, Anabaptism, Anglicanism, and iconolasm) but surely in 1517 and through the rest of the 16th century no one looked at in all in those academic terms. Those we have applied retroactively and that is good, because it is a way to understand the actuality - which we can never arrive at anyway because what is actual, what is real, what ever really happened ever? There is no pure objectivity, there is only our own methodological presuppositions (Gerhard Van Rad's phrase) which is our subjectivity.

 

Can we hold several opposing thoughts at the same time and reject none of them yet see the reasons for each opposing thought?

 

Your point is surely academically sound.

 

But I would lift up these two additional oppositional perspectives?

 

The English releases are only important in retrospect. There were lots of English stars who have had a negligible effect on culture. Simply by numbers and the (not necessarily fair) position of the US as the cultural arbiter, it was the American releases that had the significance. The American releases rocked the scene - and the scene was and is American. If it happens here, it happened. If it doesn't, it never did.

 

And... on the third hand...

 

This is a different era now that it was in 1964 and this is not a "when I was a lad" story. Music now is album driven. (That may be in dispute - the album driven nature of music may have ended with the arrival of downloading and mp3s.)

 

In 1964, before and after, music was single driven (or if anyone will quibble, the rock and roll/popular music scene). You were born after 45s had died. It was all 45 driven then. I can't recall exact percentages, but in any record store or record department in the era, the stock was mostly 45s. Albums were inconsequential in many ways. There would be one to three decent songs on any album and the rest was crap, filler, covers. Everyone had 45 collections. Very, very few people bought albums (in my experience). The most important time period of the week in Chicago was Friday afternoon, beginning at 3:30 when WLS began the Top 40 countdown. We'd go to the Sears (Sears!) and get the weekly printed version of the top 40. My cherished Meet the Beatles album will leave my hands when I die, but yet on the day after the Ed Sullivan appearance, when I made my way through the crowd to the counter and asked for "a Beatles record" it was the 45 (I Want to Hold Your Hand/I Saw her Standing There) that was given to me. Record = 45 in that era.

 

That is the whole discussion of A sides vs B sides, not an album concept, but a 45 concept. And of course the Beatles altered that because early on the real question was, which was the A and which was the B on a Beatles record? It was obvious on anyone else's 45s but not always clear on a Beatles 45.

 

What ended the era of the 45s was, as you will know, definitively was Sgt Peppers. Rubber Soul and Revolver hinted that the end of the era was coming but Sgt Peppers was the first concept album, first unifed album, and first album that it was essential to own because no single track from it was "a 45." Indeed, if there ever was a 45 released from Sgt Peppers, I have no recall. Sgt Peppers was the first time you had to buy the album. That changed the scene in its entirety.

 

I remember Dex Card doing the Silver Dollar Survey solemnly proclaiming that "Ticket to Ride" was the death of the Beatles because it did not reach #1 on th Chicago charts. It was not until this day, today, that I realized that Ticket to Ride was on the Help album. Help (the 45) was released long before Ticket to Ride was. Ticket to Ride was memorable because it was so obviously the first non feel good song by the Beatles (we all missed the meaning of the lyrics to Help). I will always associate Ticket to Ride as a further progression in the music, not as of the same moment as Help. And I will always associate Ticket to Ride with Yes It Is, which was the flip (hardly a B side). And Yes It Is is not on Help the album; to say Help alone will always conjour up the image of a 45.

 

In other words, to have lived in that time, we didn't consider the albums. we considered the 45s. And of course most of the 45s were differently mixed than the album versions (the Beatles helped end that too...). That drove the music. And then there was the difference between monoral and stereo (for some of us, mono is the way an album was realized as opposed to stereo and not a disease, and the mono versions were the bigger sellers, they were $1 cheaper and who had stereo, no one had stereo, and the 45 mixes are far closer to the mono versions than stereo). And the release of the 45s was very intentional because that was the market, that drove the market, so all musical definitions and progression were measured by the 45 releases, not the albums.

 

This is all to say I am not disputing you in the least. If I study Mozart's operas (which i do) I can easily place Le Nozze di Figaro before Don Giovanni but not so clear where Die Zauberflute fits in as it relates to the first performances of Cosi fan tutti. Academics dispute that. I bet people who lived in that time would have different recollections, depending on whether one lived in Prague or Vienna.

 

As in all things, there is always more than one way to view any subject. Your UK album as official methodology has its merits to be sure and makes some sense for academic study. But the US album as pivotal or the 45 as determinative is just as valid. I am going to cling to the 45 theory up to Sgt Peppers because that is how I remember it being lived out in a different era. And then I will go with the US album theory. But there is no right or wrong.

 

Here is a tricky question: for those of us who hold the US albums as sancroset, I Want to Hold Your Hand was the definitive song on Meet the Beatles. What UK album was it on?

 

And please know how much I enjoy the discussion with so many here and I enjoy your perspectives because you have academically studied something that is experiential to me. And thus I learn from you.

[FlaSoxxJim]

UK versus US, re the Beatles releases. Uh, the age-old debate continues. I hope Aboz chimes in as well, but here’s my take.

 

I’ve said before that I’ve had this discussion with another good friend who, like you, lived it and experienced it. For you, nothing will supplant the first-hand experience. And I envy you that.

 

As for the importance of the American fan response as the true catalyst of Beatlemania, that is undeniable. In Rock and Roll and pop culture, as goes America…

 

My geek analogy: various lowly species of fungus happily manufactured penicillin for literally hundreds of millions of years before we discovered it and it changed the face of medicine. It was important for all those hundreds of millions of years, as a chemical defense for the fungi. But as far as we humans are concerned it only hit the big time when we realized just what it was.

 

It took America to realize just what the Beatles were.

 

At the same time, I earnestly believe your first-hand experience with the US single and LP releases will always make it difficult to pursue the matter from a more academic standpoint. You said as much in discussing contemporary views of operatic works and them high-fallutin’ theological types versus more scholarly opinions formed with the benefit of temporal perspective and a clearer view of the big picture.

 

The US releases - singles and LPs - stand as a permanent record of how American audiences experienced the music. But they do not give provide the correct sequence to fully appreciate the musical progression of the group. Nor do they provide the true perspective of what Epstein, Martin, and later, the Beatles themselves thought constituted their art AS THEY SAW FIT. It has stuck with me from the first time I saw that goddamn snow shovel hanging from the ceiling at the Art Institute as a teenager, that it is the ARTIST that gets to frame his art, gets to tell the audience where the art begins and ends. It is, of course, up to the audience to decide if the art has meaning for them, but it is not up to them to delimit the art. Aboz already noted that the Beatles were regularly surprised – and alternately amused and enraged – when they saw the track selections and order on the US releases. That tells me that what was received by American audiences was an approximation of the art that the group and its manager and producer intended.

 

Not that the folks putting together the Capitol releases didn’t get it right quite often – if the American fan response can be taken as an indication. Then again, the brain trust (at Capitol refused to release a US version of “Please Please Me” (LP), despite it’s breaking all prior chart longevity records in the UK, leading to some rather unfortunate chronological song release anomalies in the US catalog (see below). So go figure.

 

But, back to my earlier point that the order in which you would have encountered the songs as a typical American listener is not as musicologically/academically meaningful as if you were to have taken in the UK EMI/Parlaphone releases instead. As a Midwestern kid, You may have been among the very few who would have encountered the stuff on (Chicago-based) Vee Jay’s Introducing he Beatles before you got a hold of Meet the Beatles (released 10 days later). Most American fans did not, however. That is not such a big deal in and of itself. After all, the Beatles hit America when the Beatles hit America. But, most of ‘Introducing’ had been turning the UK on its ear – as the core contents of the “Please Please Me” LP, released in March of 1963, topping the charts shortly thereafter and remaining at number one for 29 weeks!

 

Clearly there was a Beatlemania in the UK that preceded that in the US by a year (counting the “Please Please Me” single release), and that is entirely musically relevant. In the states, you either heard these songs at around the same time as the “Meet the Beatles” material, if you were lucky. But you could not ever get a feel for the true chronology of the music or the musicianship that way. If you were not lucky, you FINALLY got most of the (1963-era) “Please Please Me” material on the wide-release Capitol “Early Beatles.” This was released on 3/22/65 – two years to the day AFTER “Please Please Me” (LP) was released in the UK, AND after FOUR Capitol (or United Artists) albums of new material (THE BEATLES' SECOND ALBUM, A HARD DAY'S NIGHT, SOMETHING NEW, BEATLES ´65) had already been digested by the American audience. There is nothing musically or historically authoritative about this release sequence. And in fact, I know many people hearing “Anna” and “Chains” et al. after hearing “I’m a Loser” or “I Feel Fine”(!) instead of two years before did not know what to make of it.

 

Cutting to the chase. The decision to go with the EMI/Parlaphone catalog as the official catalog when the CD releases came out was the right decision (IF only one catalog was to be released). It was the right decision not just because it was the LPs the Beatles intended to make and release, but also because it represents a more complete/cohesive and chronologically correct record of the musical output of the group. That doesn’t demean the American experiential importance of the domestic catalog; it only holds the UK releases up as being THE authoritative source if you are interested in the musical evolution of he group and not the American cultural perception of the work.

 

As far as your “I Want To Hold Your Hand” question, yes it is a trick question. Again, it has everything to do with the Beatles taking America when the Beatles took America. The song was released at the end of November 1963 in the UK, entered the charts at #1 and stared there for 6 weeks. It was released in the US in mid-January (3 weeks before the band’s arrival in the states - talk about good timing), quickly charted and stayed at #1 for 7 weeks. Epstein had to convince Capitol the song was recorded specifically with the "American Sound" in mind, and of course he was feeding them a line. So then, the song did not appear on a UK LP, being recorded after the release of “With the Beatles,” and then the band having to take time out from recording to conquer America and all that, before returning to put out the next LP, “A Hard Day’s Night”. Unlike how you portray the 45s as being the experiential bellweathers for tthe US audience uup until Pepper, in the UK the 45 and LP releases through 1965 were perfectly orchestrated to allow one to parlay into the other. As soon as the "Please Please Me" single slipped from #1, for example, the LP release was ruch released (and yes, it was recorded in ite entirety in a single session in about 13 hours - frigging amazing).

 

If “Komme, Ggib Mir Deine Hand” counts, then the first UK LP release it appears on is the UK version of ‘Rarities’ I believe.

 

As far as Pepper being the LP that gave LPs preeminence in rock music, I’ll disagree and give the nod to Frank and MOIs “Freak Out.” But I guess that is another discussion.

[cwsox]

1. I’ve said before that I’ve had this discussion with another good friend who, like you, lived it and experienced it.  For you, nothing will supplant the first-hand experience.  And I envy you that.

 

2. At the same time, I earnestly believe your first-hand experience with the US single and LP releases will always make it difficult to pursue the matter from a more academic standpoint.  You said as much in discussing contemporary views of operatic works and them high-fallutin’ theological types versus more scholarly opinions formed with the benefit of temporal perspective and a clearer view of the big picture.

 

3. Not that the folks putting together the Capitol releases didn’t get it right quite often – if the American fan response can be taken as an indication. 

3a. Then again, the brain trust (at Capitol refused to release a US version of “Please Please Me” (LP), despite it’s breaking all prior chart longevity records in the UK, leading to some rather unfortunate chronological song release anomalies in the US catalog (see below).  So go figure.

 

 

 

4.  There is nothing musically or historically authoritative about this release sequence.  And in fact, I know many people hearing “Anna” and “Chains” et al. after hearing “I’m a Loser” or “I Feel Fine”(!) instead of two years before did not know what to make of it.

 

5. (IF only one catalog was to be released).  It was the right decision

 

6. As far as your “I Want To Hold Your Hand” question, yes it is a trick question.  <clip> So then, the song did not appear on a UK LP.

 

 

7. Unlike how you portray the 45s as being the experiential bellweathers for tthe US audience uup until Pepper, in the UK the 45 and LP releases through 1965 were perfectly orchestrated to allow one to parlay into the other.  As soon as the "Please Please Me" single slipped from #1, for example, the LP release was ruch released (and yes, it was recorded in ite entirety in a single session in about 13 hours - frigging amazing).

 

8. If “Komme, Ggib Mir Deine Hand” counts, then the first UK LP release it appears on is the UK version of ‘Rarities’ I believe.

 

9. As far as Pepper being the LP that gave LPs preeminence in rock music, I’ll disagree and give the nod to Frank and MOIs “Freak Out.”  But I guess that is another discussion.

1. As well you should. I was born at the perfect time, to hit adolesence as the Beatles hit America.

 

2. Not dfficult to pursue from an academic standpoint, but less likely to hold the academic standpoint as the only one. As I suggested, but not well written enough, there may be three (or more) opposing interpretations that we should hold onto for the larger truth than any one interpretation can explain. And that of couse is a microcosim of my view points on everything,

 

3. Capitol screwed up a lot. They didn't know what they had - nor would they likely have, as a totally new phenomena was upon them, as well as the nascent birth of the counter culture. It took a few years for Capitol to grasp that. However, the Beatles themselves, Epstein, grasped it. A dirty secret of my generation is that the rest of you only think you have seen merchandizing. From our Beatles notebooks to our Beatles dolls (and I have my George) to Beatles glasses to Beatles wigs to Beatles whatever - go to ebay and check it out - they invented merchandizing. If 4 mop tops could be tossed on a product, it was. If I had one of everything I remember seeing at the Woolworth's, I'd be a rich man today.

 

3a. Wasn't Please Please Me (the 45) released originally released in the US (VeeJay) a failed release in 1963? I Want to Hold Your Hand was a better song, a fuller sound, and I love both songs ardently but IWTHYH from the opening chord progression heralded revolution. When they were both out on 45 at the same time on the charts, I think it was recognised that IWTHYH was the place that PPM was only pointing to.

 

4. Historically authoritative it was. We were into that from the beginning, not only with Please Please Me (the 45) but when Love Me Do was released, it was universally recognised and promoted as a historical release, not a "current" "new" song. May be the first "rarity" in rock and roll! Your Anna and Chains friends are - um - silly. The Beatles EPS were little sold but they were out. I got my Anna/Chains/Misery/Taste of Honey at the Ben Franklin in 1964. I got my Mr Moonlight/Honey Don't/Everybody's Trying to be My baby/I forget the 4th at the Woolworths (as a gift for being a good boy during major dental surgery) in 1965. No, I do not still have them. They perished in The Great Record Diaster which I shall not recount as I will cry. But thing is, that music was out there. The Anna/Chains ep was historical when i got it. Mr Moonlight ep was current stuff not regognised as A nor B sides. Your friends should have recognised the antiquity of Anna and Chains. In one of the bands that I belonged to, the first one, I was the first songwriter. No one liked what I wrote. So I wrote the words to Anna as if they were mine and submitted them. That too as rejected. I told them those were Beatles lyrics and the problem was not my lyrics but their lack of song writing ability. I was then assigned to only play the drums.

 

5. WRONG! The right decision would be to release both versions in the catalogue. To make money, I would if I had the rights. By the same token I have various uncollected writings by Luther and the authoritative works. Lots of repetition. In fact a lot of the fun is seeing the different usage of the same writings. Of such much theology actually gets done. The Address to the Christian Nobility as a stand alone is one thing; put it in an archival collection with The Freedom of the Christian and Babylonian Captivity of the Church, it takes on a whole different tone. If all the versions were in release, I would ahve done all the American first, but I would have done them all. And then the discussion of the differences would be much more fun for me because I could lay them side by side and look.

 

6. BINGO! Exactly! IWTHYH is not on any authoriatative UK elease! Not any! So much for it being auhoritative when the song that rocked the world is not even available! That is a grievous ommission! Were it not for past masters and hits and One, it would be unavailable, and for the academic approach that Aboz seeks, it is totally missing, like examing Tut's tomb missing the saracophagus. So as I say, all the versions, US and UK, should be released and IWTHUH would once again be in the canon.

 

7. Different country, different marketing. I note that with the advent of the download and the mp3, America returns to the singles version of colecting music. You don't want the whole album, just the songs you want, so those are what you get. We are back to collecting singles again. Everything old is new again.

 

8. That was a hoot as was Sie Liebt Dicht. My ex made off with my US Rarities but aren't they both on Past Masters 1?

 

9. Up until that paragraph, I thoguht you were inteliigent. Now I conclude you are looney as can be. I spent more time doing Free Street theatre to Susie Creamcheese than anyone you might know - come up to Chicago and meet my best friend and we will take you back to the days when Susie Creamcheese wouldn't come out. (we also do john sebastian at Woodstock and other selections of the 60s). Freak Out, which I proudly own a well worn copy, was a seminal release, to be sure. But Sgt Peppers was and will always be the first album that made the LP an art form, what Rubber Soul and Revolver were working towards. The nadir of the LP as an art form came quickly: the Rolling Mimics Stones with Her Majestys Satanic Service or whatever they titled that travesty Beatles rip off. Then we had Tommy, Live at Leeds, Simon and Garfunkle's Bookends, and Pink Floyd ouevre, and the LP as art form was ritualized. The greatest concept album to me though is the White Album. It signifies the divergence of the inviduals of the Beatles but Martin's arrangements and the entire mix and play list is an incredible unity that somehow makes enormous gesctalt (spelling alert) that is still the tops to me.

[FlaSoxxJim]

Responses in chaotic order, as I'm off to work shortly.

 

Vee Jay did release a US "Please Please Me" single - 3 times in fact. The first was right on the pulse of things, Feb 1962, but it failed to chart. The release you are talking about was two weeks after IWTHYH, on Jan 30 1964 - right on the cusp of the US arrival. It hit #3 and stayed there, while IWTHYH remained at #1 for 7 weeks. Everything you say about the momentousness of IWTHYH vs. Please Please Me is true - a safe-as-milk (if doubletime) harmonica intro compared to the still-reverberating through history 'dunh dunh dunh.... Dunh Dunh Dunh.... DUNH DUNH DUNH!!!! that starts the song says it all.

 

You were more on the ball than many of the consumers of the day, and Capitol hated you for it. They did not release the "Early Beatles" as a collection of contemporary recordings, true, but at the same time they understated it's 'rarity' aspects for the sake of selling as many units of that as of everything else. Hearing the Vee Jay album 10 days before Meet The Beatles would not really have given you a true perspective of the chronology of events either, certainly. Only looking back now on how they had completely steamrolled the UK before coming over here could do that.

 

I never suggested that releasing only one catalog or the other WAS the right choice, as I never felt it was. But I do understand it. I've read 4 or 5 essays over the years from audiophile Beatle people that go on as to why the "official" CD release didn't even represent the EMI/Parlaphone history the best way possible. I've read easily twice that in people arguing back and forth about what an 'authoritative' US cCD catalog would be. Truth is, I don't own the CD catalog. I own BOTH complete official catalogs on LP, spent years and $$$ in my youth tracking them down at Beatlefests, and more years doing just what you suggest - listening to both catalogs side-by-side. My turntable's pre-amp has crapped out on me so I'm in quite a quandry now.

 

CDs will never get it right insofar as A/B sides will never be the same.

 

**IWTHYH IS a very real part of the UK release chronology - it's just a single not an LP. I already suggested they had to be taken as a single body in the UK at least through 1965. As far as not being on an album, neither are the Sullivan shows, the rooftop concert, etc... But it doesn't make them any less important in the misical evolution/chronology of the group or the phenomenon.

 

MOI "Freak Out": Not a better or more important album than Pepper. Zappa just completely understood the importance of the LP as THE medium before the Beatles did. History allows that to be seen after the fact, despite the relatively local impact (at the time) of Freak Out, and the flaws and warts of the album itself.

[Texsox]

My HS Sophmore son has gone old school and was trying to decide between Revolver and Sgt. Peppers for his latest CD purchase. He mentioned what he really wanted was the White Album but it was outside his budget. Of course Dad had to step in and encourage his cultural education and purchase the cd.

[BrandoFan]

the distinctions that we make in history once it becomes history. For example, I could list the five reactions to the year 1517 (Reformation, Counter Reformation, Anabaptism, Anglicanism, and iconolasm) but surely in 1517 and through the rest of the 16th century no one looked at in all in those academic terms. Those we have applied retroactively and that is good, because it is a way to understand the actuality - which we can never arrive at anyway because what is actual, what is real, what ever really happened ever? There is no pure objectivity, there is only our own methodological presuppositions (Gerhard Van Rad's phrase) which is our subjectivity.

 

[Gene Honda Civic]

Whoa -- There are some huge replies in this thread. I'm not going to read it .. I don't really care either way.

 

You'll all aprecciate this though.

 

http://62.210.133.184/melon/cometogether.swf

 

It may take a little while to load. Well worth the wait. It's pretty cool. I love flash.

[FlaSoxxJim]

Whoa -- There are some huge replies in this thread.  I'm not going to read it .. I don't really care either way.

 

You'll all aprecciate this though.

 

http://62.210.133.184/melon/cometogether.swf

 

It may take a little while to load.  Well worth the wait.  It's pretty cool.  I love flash.

Whoa Cheat, that is great. Thanks.

[mreye]

I thought this was "Post ya favorite Beatles song?"

 

 

Not "Write a book about the Beatles."

 

Oh well. I like "The Long and Winding Road" the best, I think. Not a huge fan, just a casual listener.