Beatles for Sale, Chet, Winding Road, Lieber

[Perplexed]

OK, my mind, which is working tonight like, not quite like a sieve, but more like a combination cheese grater/food processor, has announced a number of unrelated ideas to me, summarily, and with haste. From these notions I hobble together this rickety, raggedy post.

1) CHET ATKINS

2) BEATLES FOR SALE

please read:

www.bbc.co.uk/dna/h2g2/A600409

3) LIEBER-STOLLER, music composers:

please read:

www.google.com/search?hl=en&lr=&safe=off&q=lieber+stoller+beatles

4) Ringo played the piano, and wrote songs, nice pop songs with his own sound.

5) The Long and Winding Road

6) The song "Photograph" by George and Ringo


There is some sort of connection. I keep seeing Ringo, sitting at the Steinway in Abbey Road, at some point, in my head of course, playing some chords over and over, chords that sound a lot like "The Long and Winding Road", but in the key of C major INSTEAD of the right key, Eb major.

I see George and Ringo talking; I see them writing "Photograph".

I sense Lieber and Stoller around them; they are talking cordially, they get along well.

I see Chet Atkins, talking to George.

I see John Lennon keeping his distance from all this, for some reason.

I see John fumbling thru the bass lines of "Long and Winding Road" and refusing to fix the wrong notes.

Or the one wrong note on the bass in "Oh, Darlin'", where he plays an "A" when it is the D chord at the start of the second bridge.....although the "A" , being the 5th of "D", fits OK, still, it is unstable to have a IV chord at the start of a new section inverted 6:4. (D/A)
To my ears....wrah-hong.

He won't fix it.

Why do I think this? John, fix it, please.

No. He says no. It does not get fixed, history and every last bless-ed copy of Abbey Road tell us this. John LIKES the inversion. I do not. I don't really think he does either; he just says that because he will not be countermanded into doing it again. But, John doesn't care what I think. Mainly because we never met and he never knew who the heck I was. But, I try never to let tiny details impede my progress.

"John, please, oh genius, oh great one, please, fix the note."

"I played it and it stays. You want it fixed, fix it yourself." And he exits to the washroom.





Man, those mushrooms were really strong tonight.




Portabello mushrooms. Great on pizza.

[plastic paul]

perplexed said:

There is some sort of connection. I keep seeing Ringo, sitting at the Steinway in Abbey Road, at some point, in my head of course, playing some chords over and over, chords that sound a lot like "The Long and Winding Road", but in the key of C major INSTEAD of the right key, Eb major.




Man, those mushrooms were really strong tonight.




Portabello mushrooms. Great on pizza.

Can I get some of those?

No but seriously, you think perhaps the melody of "TLAWR" was perhaps originally a little tune that Ringo found himself tinkling on the ivories, before it was taken forward by George Martin and John Lennon (maybe even Bill and/or the ghostwriter) to be completed and have lyrics written for it?

I could buy that.

[Perplexed]

Yes, I fancy that possibility. Doesn't Ringo play the piano? He writes progressions and songs, ad libs pretty things at the keyboard, doen't he? Isn't it a thing he really enjoys?

There is an unwritten rule, a private code that goes on with silent but mutual consent between all piano players.

If guitar or piano happens to be our main instrument, out of fear and insecurity, we will always-always-always show a piano-playing drummer VE-HE-HE-HE-ERY little encouragement and attention. We act slyly indifferent, as if to say, "Very nice, chum, but of course you know you'll never REALLY be in our category. You can't make the grade, Keep trying, your little hobby, and we'll wink and put up with it as if it were worth our notice. Sad, so sad...."

When of course every inventive, clever riff they play sends secret shivers of torment down our backs, fearful that the day will come when drummers everywhere will be taken seriously as pianists, and we might lose our ignoble position.............[*shudders*]

[TotalInformation]

Or the one wrong note on the bass in "Oh, Darlin'", where he plays an "A" when it is the D chord at the start of the second bridge.....although the "A" , being the 5th of "D", fits OK, still, it is unstable to have a IV chord at the start of a new section inverted 6:4. (D/A)

What you should be using your musical training to think about when encontering such anomalies is whether Lennon was attempting to communicate a hidden message to the discerning listener, such as yourself.

[LUCY]

totalinformation said:

Or the one wrong note on the bass in "Oh, Darlin'", where he plays an "A" when it is the D chord at the start of the second bridge.....although the "A" , being the 5th of "D", fits OK, still, it is unstable to have a IV chord at the start of a new section inverted 6:4. (D/A)

What you should be using your musical training to think about when encontering such anomalies is whether Lennon was attempting to communicate a hidden message to the discerning listener, such as yourself.

do you have something to say, TI?

[Perplexed]

lucy said:

totalinformation said:

Or the one wrong note on the bass in "Oh, Darlin'", where he plays an "A" when it is the D chord at the start of the second bridge.....although the "A" , being the 5th of "D", fits OK, still, it is unstable to have a IV chord at the start of a new section inverted 6:4. (D/A)

What you should be using your musical training to think about when encontering such anomalies is whether Lennon was attempting to communicate a hidden message to the discerning listener, such as yourself.

do you have something to say, TI?

These people are as crazy as some of us (me) are:

ilx.wh3rd.net/thread.php?msgid=6712055

So much to say about a little bit of singing.

Well, maybe Paul played bass on "Oh, Darling". I read somewhere that it was John-----but nobody agrees. I'll have to find a Mark Lewissohn reference.

If Paul played it, then he decided to leave the mistake in because he thought it gave it edge.

If John played it, he decided to leave it in because he was passive aggresive by that point and didn't give a rat-flip.

If either one played it, but George Martin saw fit to leave it in, it was because they had already bounced too many tracks down and they couldn't re-do it without having to seriously rentrack much of the song, and a bunch more production money spent for the fixing of a single solitary bass note would have chapped the *ss of the EMI CEO's.


It is a boo-boo, pure and simple.
The guilty note was played with much ferver and stuck out there for all to hear. There was no gettin' away from it, that loud, thumped, whacked, hit for all it was worth, "A" natural. And then the culprit tried to cheat to the "D" pretending that we wouldn't notice. Like a lad caught with his hand in the cookie jar quickly trying to reposition the errant paw before mummy sees the spoil. Oh the guilt. Oh the shame. Oh the calories.Ha!

But I am too hard, too severe about this matter. It could have been much worse for Sir George Martin. It could have been---an A-FLAT!

Let us be glad that an A-flat isn't on an open string.

Total suggest that maybe the wrong bass note was another intentional clue. I don't have a theory for this. But I remember something from once upon a time......(I learned this from a reformed junkie guitarist in the area)

He told me of the "junkie in distress " musical code, a closely held secret song played to warn the drug-taking crowd of an impending bust, sort of a "tokin' heads-up" you might say....(ha-ha-ha-ha-ha)

B-SHARP!/B-SHARP!/B-SHARP!/B-SHARP!/
D/E/A/
B/A/D/G/E

Used as a lead-in to a medley of some of these songs:
"Do Run, Run, Run, Do-do run-run!"
"Knowing When to Leave."-Burt Bacharach
"I'm Leavin' By the Back Door"---Mamas and Papas
"The Sound of Psilo-cibins"---Simon and Garfunkel
"They've Paved Paradise, Run For the Parking Lot"--Joni Mitchell
"Cut and Run"
Theme from "An Officer and a Search Warrant"
"Exodus"
"This Party's Over--Now"
"You Gotta Right---to Remain Silent"----the Beastie Boys/ in C. Miranda's Act
"Every Breath Test You Take"-------by the Police
"Sworn to Be Wild"--Steppenwolf
"Scanned on the Run" Paul McCartney
"Just a Spoonful of 'C12-H17-O22' Helps the Lab Results Go Brown"-----Mary Poppers
"I'll Need a New Judge"------Huey Lewis and the News
"Stashdance"------Irene Cara
"Ask Alice---When She's Behind Bars"----Jefferson Airplane
"When You Get Caught Between the Spoon and New York City"----Arthur's Theme
"Clock the Junkie" Peter Gabriel
"Papersack Hider" the Beatles
"Pills, Pills, Pills"---Destiny's Child
"For the Good Dimes"---George Jones
"Shoot Me With Your Best Hit"---Pot Benatar
"She Snuck Out Through the Bathroom Window"--Beatles
"Send in the Dogs" --by The Canine Unit
"Hold Your Hands Up"---Rod Argent
"Possession"---sung to the tune of "Tradition", Fiddler on the Roof
"The Green, Green Grass, Should'a Been at Home"
"I Wanna Cuff Your Hands" --Beatles
"Angel Dust in the Wind" Kansas
"Give Me One Night Only" ------The Dreams (literally) from Dreamgirls
"We'll Keep You Runnin'" --the Doobie Brothers
"I've Gotta Flush the Dope, Down the Loo"-Gershwin
"You Raise My Bail"----Josh Groban
"The Search is Over"-----cover version by REO Paddywagon
"Raid 'R Love"
"Jailhouse Rock" Elvis Got It All Started
"In The Glovebox"---sung to the theme from "The Love Boat"
"You're the Cops"---Cole Porter
"You Can Have Anything That You Want, When Urinalysis Restaurant"-----Arlo Guthrie

but the ultimate question is:

"What Are You Doin' With Arrest of Your Life" by Barbra Streisand

[Ludwig]

perplexed said:

There is an unwritten rule, a private code that goes on with silent but mutual consent between all piano players.

If guitar or piano happens to be our main instrument, out of fear and insecurity, we will always-always-always show a piano-playing drummer VE-HE-HE-HE-ERY little encouragement and attention.

AHA! I KNEW IT! Now I must change my name to Complex-ed.

[unrepentant]

i always wondered what BADGE by cream was about.

[Perplexed]

ludwig said:

perplexed said:

There is an unwritten rule, a private code that goes on with silent but mutual consent between all piano players.

If guitar or piano happens to be our main instrument, out of fear and insecurity, we will always-always-always show a piano-playing drummer VE-HE-HE-HE-ERY little encouragement and attention.

AHA! I KNEW IT! Now I must change my name to Complex-ed.

So sorry, Ludwig. I thought you knew that little secret! We never meant to harm. Tell you what:
I saw a self-help book in the budget bin at "Guitar Center" that I'd like to send you:
"Coming Out of Drumming: "Beating the Lifestyle."

It claims that you can reform completely in 6 months (in 4/4) or a year in cut-time, if you practice and master these 5 simple rudiments of ex-drumming. They'll get you fired from your band and ostrasized forevermore from the world of the trap percussionist. Then you'll be truly free and can live clean the rest of your life without tempo as a non-drummer.

1.) Russian Drag.
Could I be more clear? Some blatant russian drag right there on the bandstand and you'll be toast, mister! Can you say, "fired before the end of the dinner music?"

2.) Spend some time playing with an itenerant cabaret pianist who rushes "the and of 4" in nearly every measure. You'll be flinging those drumsticks across the room in no time! Probably in his direction.

3.) Set up your drum kit in the middle of Haarlem one day, say, in front of "Popeye's Chicken" at lunchtime and really begin to bash out some whitebread country-western grooves for the local population. You won't have to worry about breaking your drums down; that'll all be handled for you. A personal exit strategy is recommended for this step.

4.) Call the New York local and rave for 20 minute on how you know that Steve Gadd is a communist. Keep calling back. Show up in person and say how the local AFM is all communists. Maintain a wild, crazed expression. You'll be toast. Actually, even worse, call Steve Gadd directly and accuse him of rushing quarter-note triplets. Then lock your front door.

5.) Make an overseas call to Apple/EMI and say "My name is Bernard Purdie, and I am calling to collect. I have paper signed by Epstein and I want my back money for the "Yeah, Yeah, Yeah" song." It'll be "No, no, no" for you.

There is a number #6 if all else fails:

Learn to play the viola. You will become musically ruined in no time at all. How could this fail? It has not failed yet to ruin anyone who dares to master it. That is because it cannot be mastered-the viola is the work of the dark side.

After all, isn't music written for viola always written in the Anti-Clef?

When the viola is done with you, you will be tone deaf with no rhythm.
Music will be sour in your ears.

The choice is yours. Coming Out of the Lifestyle of Drumming isn't easy, and the truth is that MOST drummers do fall back, relapsing time and time again, falling back into the same patterns of 4/4 and 12/8 that drummers have been laying down since time began. lol

Stop the dependency now; break every drum pattern. Become as rhythmically challenged as the typical glissando challenged showtune pianists, and they will love you for it.

Hell, if you show 'em you can beat them to the barline faster than they can, they may even buy you a drink!

[Ludwig]

It's cool Perplexed, no offense taken. So dressing up as Anna Pavlova in full costume would be a bad interpretation of Russian Drag? BTW, I've already picked up a copy of "Sousaphone for Dunderheads" and was going to get fitted for one today. Whaddya think? BBb or Eb? ;D



A pic of Faul and Chet Atkins. Was not Chet one of George's influences?

Edit- I tried to post a pic of Faul and Chet Atkins without success. What am I doing wrong?

[TotalInformation]

It is a boo-boo, pure and simple.

You'll never get anywhere if you don't look beyond simple assumptions.

[Perplexed]

ludwig said:

It's cool Perplexed, no offense taken. So dressing up as Anna Pavlova in full costume would be a bad interpretation of Russian Drag? BTW, I've already picked up a copy of "Sousaphone for Dunderheads" and was going to get fitted for one today. Whaddya think? BBb or Eb? ;D



A pic of Faul and Chet Atkins. Was not Chet one of George's influences?

Edit- I tried to post a pic of Faul and Chet Atkins without success. What am I doing wrong?

Russian Drag? Oh, I've made another spelling error. I meant "rush and drag."

Sousaphone? I see you more with a Wagner tuba.........

Do you have a host site for your photos like either imageshack or photobucket?

www.photobucket.com

www.imageshack.us/

Join one or the other and enjoy. I like photobucket; I notice some others much prefer the shack.

All depends upon if you'd rather do it in a bucket or a shack; it's the age-old quandry between convenience and privacy.

[Perplexed]

totalinformation said:

It is a boo-boo, pure and simple.

You'll never get anywhere if you don't look beyond simple assumptions.

Well, I could make a guess or two.
In musical terms, that wrong bass note amounted to (musically) two things:

an INVERSION and a SUBSTITUTION.

and it was done at the DOWNBEAT of the first BAR of the REPEAT of the BRIDGE.

It would have been the right note if they had been going into another A-section. Common faux-pas. A bass player following a chord sheet where all you see is chords listed in order for the AABA sections. Knowing the form is how you know to choose the "B" section chords---the rest of the time all you have to worry about is the "A" section chords, repeat, repeat, repeat.

Before you start the "take", everybody knows (and usually scribbles down), the form, is it A-A-B-A, or A-B-A-B-A-A, or even Intro-A-A-B-A-B-A-C-A-A-tag.

When it gets real complex, you could see this situation:(I for intro)
I-A-B-B-A--D-A-B-B-A-D-O-O. But not very often.

I guess I could start "planning" my wrong notes as clues for something, I suppose. Boy. I hit a real awful clunker in a show Saturday, good jeez mercy holy lord. I played (on synth) a climbing scale adlib, using a warm vibraphone patch with the tremolo on, I got up to the top of the scale in a very exposed little solo. Very noticeable place, sticking out. For no logical explanation, my 4th finger,which really wasn't needed at that moment, decided that it wanted to play a note.

One extra note.

One single, solitary, added note.

On the very end of an exposed musical spot.

All you heard at that brief moment was me.

Just "me" as a synthesizer vibraphone.

Playing one note too many.

And sadly, it was the exact, precise, wrong note to play.

The exact wrong note.

No other note could have sounded worse; and no subsequent note could have made what was heard sound any better.

I was stuck, trapped, hung out to dry on the end of my note.

Scale going up:

La-la-la-la-la-la-la-la---la----la--------CLANG!

And for some reason, my forth finger REAAAALLLLLLY dug in on that one, exact, precise, wrong note.

In the eternity of the half-second that followed, I prayed for the singer and the other instruments to move quickly, very quickly forward.

They did not.

It was as if the entire consciousness of the room, including the lead singer, the conductor, and the band, was suddenly captured and held transfixed by this one, unusually bad, sour, off key note.

Any note but THAT note. I could have had a 6 year old pick one a random and had a better note.

But no.


No.


(*giggle*)


haha


I had to play THAT note.

Of course, the show was videotaped and recorded professionally at great expense, and my sour note is etched forever in as a 89k note event somewhere in a Pro-tools file.

I am calling the producer-engineer tomorrow morning to make an appointment to come in and see if we can "extract" this unpleasing, offensive pitch from the song. It wasn't the kind of note that's funny. That I could live with.

It was the kind of note that's JUST PLAIN BAD.............

The kind of note, where, if people are free to react out loud, upon hearing it, they say "Oo!" Not, "Oh", or even "uh", but a clear, long, sustained, groaning Oo.

Nobody said "oo" at the concert. Their was only silence. That empty. dead, dry silence when you can tell all the available oxygen in the room was simultaneously sucked up into the audience's lungs and they held their breath---afraid to make a sound, afraid to smell the air for fear of smelling
"the note".

This note smelled.

And as I sat there for the thousand year eternity that encompassed that one short, 2 second interval, I could not even look around for fear I would meet someone else's eyes in the band, and they would have that certain look on their face where you know that you have lost their respect forever.

Like, YOU made THAT note? That sound came outta you? OMG! Give me some clothespins...

It was three songs later before I felt my composure and the color in my face return. I had about 25 minutes to come up with a believable excuse for how it happened. But they were all happier putting the note out of their minds.
And I should be too, though I kept experiencing mini-flashbacks of that "moment" thru-out today.

In a few days I'll be allright. I may even be able to laugh about it. Perhaps in a few weeks my bandmates will forget about it, too........

You are right, TI. I won't ever be able to get anywhere continuing to make simple assumptions about wrong notes.

[byrdsmaniac]

perplexed said:

When it gets real complex, you could see this situation:(I for intro)
I-A-B-B-A--D-A-B-B-A-D-O-O. But not very often.

Oooooooooooo.....

[byrdsmaniac]

Perplexed wrote:
"Or the one wrong note on the bass in "Oh, Darlin'", where he plays an "A" when it is the D chord at the start of the second bridge.....although the "A" , being the 5th of "D", fits OK, still, it is unstable to have a IV chord at the start of a new section inverted 6:4. (D/A)
To my ears....wrah-hong."

Uh...could you tell the rest of peasants where this is in the song,
using words like: "right after he says 'please believe me' "?

(Conspiracy theorists need clues they can use! )

Oh, by the way, I found your drum set here:
60if.proboards21.com/index.cgi?board=Essential&action=display&thread=1128416659

[Perplexed]

byrdsmaniac said:

Perplexed wrote:
"Or the one wrong note on the bass in "Oh, Darlin'", where he plays an "A" when it is the D chord at the start of the second bridge.....although the "A" , being the 5th of "D", fits OK, still, it is unstable to have a IV chord at the start of a new section inverted 6:4. (D/A)
To my ears....wrah-hong."

Uh...could you tell the rest of peasants where this is in the song,
using words like: "right after he says 'please believe me' "?

(Conspiracy theorists need clues they can use! )

Oh, by the way, I found your drum set here:
60if.proboards21.com/index.cgi?board=Essential&action=display&thread=1128416659

It occurs in the first bridge at the 1'08" or 09" mark on the word "told", in the phrase, "when you TOLD me", the first time. I was confused---the event is the first time, not the second.

Well, I listen to it again, and the bass is playing the correct note, the low D there.

BUt there is still some low frequency below it, an "A", a very deep "A", maybe its from another take, or the piano---.

Or, since A and D are both open strings, he might have struck the "D" so hard
the he "wanged" or nicked the A for just a brief moment.

Intervals of a 4th played loudly, down that low, well, kind of stick out.

So it appears that the correct note WAS played. I am hearing an extra low note, very brief. Probably just accidently came in contact with the next open string down.

No biggie. Sorry I mentioned it.

Not like me the other night hitting a loud high Ab when the chord is a soft Gminor sixth.....

The song was "People"----the singer sang, "We're children, acting just like children"--SPLINGGG!!!!

[byrdsmaniac]

Well then that's perfect!
The audience probably figured you were acting childish by hitting that note; a little impish fun, you know?
But really now, "People"?!
Unless you were in the orchestra pit for "Funny Girl",
what justification could there be for playing that annoying song?
(I thought Babs had retired.)
You're lucky if the audience wasn't throwing things.
Or throwing up!
So anyway, thanks for clearing up the mystery in "Oh Darling!"
I'm with TotalInfo on this one.
It's gotta be a conspiracy when "Oh Darling!" and "People" show up
in the same post!
What could it all mean?
What's next, "My Way!" ?
Yes!
(From an email I sent) :

"My brother had a summer job washing dishes at "Al's King Court Diner" opposite King's College in 1970.
(I think it's Gonda's now.)
In those days it was a very popular place for business men to have lunch.
One day my brother mentioned to my sister and I that the copy of
Frank Sinatra's "My Way" on the juke box at Al's had a scratch on it
right at the end of the song; the last "and did it" right before the bellowing
"MYYYYYYY WAYYYYYY".
The record would repeat "and did it" until Al, cursing, would have to go
and kick the machine.
So, knowing this, my sister and I would come in for lunch and play it
on the sly (fortunately you could program the juke box from your table).
Sure enough, Al would come marching out of the "kitchen", muttering under his breath,
and kick the juke box.
"Goddammit" he'd mutter as he returned to the kitchen.
We found this increasingly amusing, until
the fourth day we were laughing so hard after punching in the song that
Al became suspicious and came by and asked what was so funny.
"Oh, Wendy was telling a funny story," I lied.
Just then "My Way" started to play, and I started laughing so hard tears were coming out of my eyes.
Al put two and two together and kicked us out.
My brother tells me the next day the jukebox man came and took it out of the machine."
Devil children that we were. ;D

[Perplexed]

byrdsmaniac said:

Well then that's perfect!
The audience probably figured you were acting childish by hitting that note; a little impish fun, you know?
But really now, "People"?!
Unless you were in the orchestra pit for "Funny Girl",
what justification could there be for playing that annoying song?
(I thought Babs had retired.)
You're lucky if the audience wasn't throwing things.
Or throwing up!
So anyway, thanks for clearing up the mystery in "Oh Darling!"
I'm with TotalInfo on this one.
It's gotta be a conspiracy when "Oh Darling!" and "People" show up
in the same post!
What could it all mean?
What's next, "My Way!" ?
Yes!
(From an email I sent) :

"My brother had a summer job washing dishes at "Al's King Court Diner" opposite King's College in 1970.
(I think it's Gonda's now.)
In those days it was a very popular place for business men to have lunch.
One day my brother mentioned to my sister and I that the copy of
Frank Sinatra's "My Way" on the juke box at Al's had a scratch on it
right at the end of the song; the last "and did it" right before the bellowing
"MYYYYYYY WAYYYYYY".
The record would repeat "and did it" until Al, cursing, would have to go
and kick the machine.
So, knowing this, my sister and I would come in for lunch and play it
on the sly (fortunately you could program the juke box from your table).
Sure enough, Al would come marching out of the "kitchen", muttering under his breath,
and kick the juke box.
"Goddammit" he'd mutter as he returned to the kitchen.
We found this increasingly amusing, until
the fourth day we were laughing so hard after punching in the song that
Al became suspicious and came by and asked what was so funny.
"Oh, Wendy was telling a funny story," I lied.
Just then "My Way" started to play, and I started laughing so hard tears were coming out of my eyes.
Al put two and two together and kicked us out.
My brother tells me the next day the jukebox man came and took it out of the machine."
Devil children that we were. ;D

People? How about "The Man That Got Away" and "My Man?"
We also did a Village People medley including "In the Navy" and, "Y.M.C.A.", a Donna Summer medley with "Last Dance" and "Hotstuff", "If I Could Turn Back Time" in a Cher Medley, a Madonna Medley, an ABBA medley (with Dancing Queen), an Elton John medley, a medley conspiciously titled "Drag Queen Classics", and a salute to "The Wizard of Oz" with 5 guys, all in costume playing Dorothy, the Tin Man, the Scarecrow, the Cowardly Lion, AND Glinda(the EmCee of the night)........a tribute to Judy Garland and 3 songs by QUEEN......

OK it was a local gay men's chorus of about 100 guys + some dancers and a small band. They do serious concerts too, but every June they present a "follies" style show.

I have done many arrangements for them over the years but this is the first year I was free to play. It was all a little bit tongue in cheek and very fun.

Until I played the g*dd**ned A-flat.


And I love the "My Way" broken record..........rofl that is a choice gem. I put my own little spin on it (adding just the slightest bit of the first consonant in "my"):

and I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------I did it muh(*pop*)-------

KICK! RATTLE! SCRATTTTTCHHHHHH! SHRHRHRHSRHRHRHECKCKCKCK!

Mah----------------yee---------Wah-yeeeeeeeeeeeeeeeeeeee!(Cymbal crash)

[byrdsmaniac]

Perplexed wrote:
"People? How about "The Man That Got Away" and "My Man?"
We also did a Village People medley including "In the Navy" and, "Y.M.C.A.", a Donna Summer medley with "Last Dance" and "Hotstuff", "If I Could Turn Back Time" in a Cher Medley, a Madonna Medley, an ABBA medley (with Dancing Queen), an Elton John medley, a medley conspiciously titled "Drag Queen Classics", and a salute to "The Wizard of Oz" with 5 guys, all in costume playing Dorothy, the Tin Man, the Scarecrow, the Cowardly Lion, AND Glinda(the EmCee of the night)........a tribute to Judy Garland and 3 songs by QUEEN......"

[glow=Green,2,300]EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEK![/glow]

[TotalInformation]

I don't want to overemphasize "Oh Darling" or anything... actually I think LIB is least likely as an album to have that kind of clue.

But I think there's pretty good odds that Lennon may have weaved into the music of something like "Day in the Life" a message of some sort... it's an angle I don't think ha been investigated enough. I think SK may have mentioned something along these lines a couple of yrs ago; but it should be devled into more deeply.