GETTING BACK TO "GET BACK" Updated 11/03

I love Glyn Johns' first mix of the aborted "Get Back" album. Love it, love it, love it! Sure, he only used one song from the rooftop concert (a powerhouse one-off runthrough of "One After 909"); sure, he inexplicably used inferior versions of "I've Got A Feeling," "Two Of Us," "Don't Let Me Down" and "Dig A Pony:" sure, he included "Teddy Boy" but didn't edit out the squelch of horrible feedback (not that he could I guess); sure, he included "Maggie Mae" (but so did Phil Spector); and sure, he included "Rocker" (a lame title for an impromptu jam).

Allow me to remind you that I love this album!

Reason #1: the sound. It sounds friggin' great. It really does sound as if you're in the studio with the Beatles. Glyn Johns had (or has) a unique way of miking the drums and they sound phenomenal on his mix of the album.

Reason #2 - The between-song chatter. It sounds natural, unlike the canned bites that Phil Spector culled for his mix.

Reason #3 - He put John and Paul's voices into separate channels for "One After 909" (I can't believe that in all other versions they're mixed together!).

Reason #4 - Johns' stuck to the original concept (well, once a concept was hit upon I guess after days of trying to come up with one both at Twickenham and Apple).

I have more reasons, but I'd be interested in hearing other people's.

And one random thought: according to Lewissohn all four Beatles attended at least two separate mixing sessions for the album at Olympic Studios (well, I'm assuming it was all four: Lewissohn states, "The Beatles were in attendance"). If they didn't like what he was doing, why didn't they pipe up and say something until waiting 'til he was done and rejecting it outright?

And I quote those old Tootsie Pop ads: "The world may never know."

Comments welcome!

Jeremy Boob

ALL TOGETHER NOW

So let's talk about what a waste of a DVD release the upcoming ALL TOGETHER NOW is! I mean, good grief! This is a zero-interest documentary for the serious Beatles fan and guaranteed to be a one-viewing only snooze inducer for all others. Does anyone really care about how the Cirque de Soleil LOVE show was put together? Sure, the music was interesting (and I'm sure the sound at the show - which I haven't seen and have no desire to - is nothing short of stunning) but in what world do we live in where Apple considers this to be a viable release?!

Mind you, I am most certainly not one of those hard-core enthusiasts who are apoplectic about the non-availability of a remastered Beatles catalogue (the current versions on CD are excellent, no matter what the bit rate is), but why shell out hard-earned money for something that is tangentially Beatles-related as opposed to the real thing? And it's not even a professionally recorded version of the show! It's about the making of the show!! Which is only playing in one place: Las Vegas!!! Criminy!!!!

How the Hollywood Bowl concerts haven't been released is beyond me (I don't buy the "those who really want those shows have them already from alternate sources" argument). Or even a DVD release of all the promotional clips the Fabs did.

But a behind-the-scenes of LOVE?

I think not.

Comments welcome!

Jeremy Boob

THE ULTIMATE BEATLES GIFT

The ultimate gift for a serious Beatles fan would be an all-in-one contraption (by this I mean computer program) that would allow users (read "purchasers") to remix Beatles tracks any way they'd like using available multitracks. I've pondered various versions of this idea in the past but what really got my juices flowing was something I practically tripped over online on a Beatles forum (Doug Sulpy's excellent 910).

What I saw in one of the posts was that someone had leaked a number of multitracks for a few Nirvana (an overrated group if ever there were one) songs. Big deal, right? Well, this led to another post where someone referenced the availability of a few Black Sabbath multitracks (now there's a real band) that although possibly not the real thing had been stripped from a game called Rock Band. I'd heard of Guitar Hero (my nephew has it: it's fun, but no Beatles songs are on it) but Rock Band was new to me.

I followed a few more online threads to find out that Rock Band is essentially made up of songs and their respective multitracks, the majority of which are all legitimate individual tracks. The mother of all the threads led me to a website where someone had cracked the ROCK BAND codes and extracted the multitracks for posting. I was overwhelmend by the number of songs but one in particular attracted my attention: the Stones' "Gimme Shelter." I immediately downloaded it but then realized I had no way to play it! "Ka-rap!" thought I, until I did another search and found out that all I had to do was download Audacity (a free program) and simply drop the "Gimmen Shelter" file into it, which I did.

H-O-L-Y M-A-C-A-R-O-N-I

For the next 45 minutes I listened to 8 or 9 different instrumental/voice tracks that composed "Gimme Shelter" and was floored. Overjoyed. Enraptured. I don't know what else to say.

Which brings me back to the Ultimate Beatles Gift. If one were to have all available multitracks for Beatles songs (starting with "I Want To Hold Your Hand," since that was their first 4-trackk recording if I recall correctly) one could mix the music any preferred way (artistic intent be damned!). You like more bass? Then increase it in the mix! You want it sans vocals? Then mute 'em! It could be that easy.

Sure, the whole thing would probably only interest rabid fans (i.e. those reading this post) but it sure could be profitable for Apple. How so Jeremy? Well...I'd avise Apple to hire someone to create its own hack-proof Audacity-like software so that the only person who could use the program would be those who purchase it. [I know there's no such thing as hack-proof, but they don't need to know that!]

Can you imagine mixing your own version of your favorite songs?

I can. And some day we will!

As always...comments always welcome.

Jeremy Boob

LET IT BE - The EP?

So let's imagine that what was released as the LET IT BE album - after sitting on the shelf for over a year with occasional work here and there - was released as a double EP instead, a la the MAGICAL MYSTERY TOUR songtrack (I love that term, by the way) some time in late April or early May of 1969, with sequencing as follows:

Disc One, Side 1:

- Get Back (as released on the single)
- Two Of Us (probably the same take as released on LET IT BE)

Disc One, Side 2:

- Don't Let Me Down (as released on the single)

Disc Two, Side 1:

- Let It Be (one of the 1/31 takes)
- For You Blue (lots of good versions of this one to choose from, believe it or not!)

Disc Two, Side 2:

- The Long And Winding Road (Anthology version)

"Hold on there!" you're probably saying. "You're missing quite a few songs." Am I?

Following the sequencing of the LP as released in May '70 (don't get me started on LET IT BE...NAKED) I've omitted "Dig A Pony," "Across The Universe," "I Me Mine," "Dig It," "Maggie Mae," "I've Got A Feeling" and "One After 909" and here's my logic:

"Dig A Pony" as released was a rooftop performance, which I'm saving for a later release. [Huh? Stay with me: I'll explain later.]

"Across The Universe" never has belonged and never will belong on any LET IT BE release. The only reason it was included on the album was due to Lennon's brief run-through of it in the film.

"I Me Mine" wasn't recorded until nearly a year after the original sessions wrapped, and only three of the Beatles are on it! Another from the "it's in the film we'd better put it on the album" school of thinking and completely out of line with the concept of the four Beatles performing all the songs as a single unit.

"Dig It" is garbage. Amateurish at best, the only thing that can be said in its defense is that at least it's shorter on the LP than it is in the movie.

"Maggie Mae" is a throwaway. So I'm throwing it away.

"I've Got A Feeling" and "One After 909" are from the rooftop concert (see above).

So what does that leave us with? I'm thinking a pretty solid - albeit Paul heavy/John light - double EP with some good songs that hold true to the "back to basics" concept the Beatles eventually held on to as the sessions progressed. The Beatles worked hard to get to where these songs were releasable (any one who's heard the session tapes knows that) and the double EP would have been the perfect stop-gap between the White Album's looseness and ABBEY ROAD's polish.

Now for those rooftop songs...I'd include all of them on a more complete soundtrack to the film LET IT BE (which I would have edited in a completely different way and called GET BACK). The film and soundtrack would have been released towards the end of '69 to (1) cap off a winning year for the Beatles, (2) end the 60's on a high note and (3) show that the Beatles were still essential to the music scene (which they really weren't, but that's for another post).

ABBEY ROAD would have been pushed to an early spring release and would be the final jewel in their career. ["The Ballad Of John And Yoko" would have been a Plastic Ono Band single, with Paul playing under a pseudonym].

As always, comments are welcome.

Jeremy Boob

"GEORGE HARRISON AND OTHER BORES"

That was the headline leading into the review of George’s eponymous 1979 album, which I took as a personal offense at the ripe old age of 14. [For the life of me I can’t remember who the other bores referred to, but I’m thinking McGuinn, Clark and Hillman or some other 60s-era reincarnation.]


The review was in Stereo Review, a magazine that my older brother – as good an audiophile as I ever knew – subscribed to. [It was cheap, even for back then: $4.99 for the whole year if I remember correctly!] I never read the articles about the equipment, but I sure did enjoy the album reviews, which usually started off with judgments about the artist’s performance (poor/good/very good/excellent) and the overall recording (same ratings categories). There were also feature reviews (which didn’t get the ratings, for some reason or other), of which the GEORGE HARRISON album was one.


Now, GEORGE HARRISION was the first album of the quiet Beatle’s that I’d ever purchased; my older brother had ALL THINGS MUST PASS lp and CONCERT FOR BANGLA DESH on cassette, a cousin had LIVING IN THE MATERIAL WORLD, a neighbor of mine had DARK HORSE and my parents had bought EXTRA TEXTURE and 33 1/3 for me. You can’t imagine the car I took with it every time I took it out of the jacket, and then the sleeve (with lyrics and a cool “in action” shot of George walking at some auto race) every time I played it. And played it. And played it.


I loved that album. To see it lumped in with “other bores” was appalling to me. It was the ultimate dismissal of something I enjoyed immensely. [Don’t worry: I’m not going to go overboard and call it a classic. I knew it wasn’t a classic then and it certainly isn’t now; it was special to me, that’s all.]


Let’s go track by track. Side One starts with…


“Love Comes To Everyone” – a great album opener. Clapton plays on it. Barely. Has a nice bit of energy as well. [Throwing out a big boo to whomever opted to include an edited version on the BEST OF DARK HORSE collection. What was the point in that?!]


“Not Guilty” – a holdover from the White Album sessions and one George had a lot of difficulty with originally (awkward timing, terrible phrasing and a horrendous lead vocal). Here, however, it’s slowed down and superbly executed. John and Paul were right not to include it on the White Album; George was right to revisit the song and improve it some 8+ years later.


“Here Comes The Moon” – a sequel of sorts, and a somber one at that, although the chorus is a tad jubilant (huh?). I always liked the descending riff, though, and it was easy for me to figure out on the guitar!


“Soft-Hearted Hana” – a great song! And it’s funny too. So what if it’s a retread of “Deep Blue?” I didn’t have that b-side and it certainly wasn’t played on the radio. The slow fade always threw me though (the speed alterations in the recording led me to believe my lp was defective).


“Blow Away” – a really sweet song. Way too repetitive though. Has a glorious slide guitar break though.


Side Two –


“Faster” – Now this is a great friggin’ song! The revving of the cars, the guitar assault, the verses, the chorus (“Faster than a bullet from a gu-un, he is fa-ster than ever-y-wuh-huh-hun…” and even the ending. Ka-pow. A real GH killer.


“Dark Sweet Lady” – beautiful love song with some gorgeous acoustic guitar picking by George. Not like anything else on the album musically, that’s for sure.


“Your Love Is Forever” – a bit of a downer, but actually a lovely song with an extended guitar opening that’s well thought out and played.


“Soft Touch” – a nice, peppy number with another great descending guitar riff (this time courtesy of an acoustic 12-string).


“If You Believe” – great album closer courtesy of George and co-author Gary Wright (of “Dream Weaver” fame). Great riff too, and one of the few songs where George belts out the verses.


So how does GEORGE HARRISON stand up in the GH canon? Well, it’s not as strong as 33 1/3, but it’s certainly better than SOMEWHERE IN ENGLAND and GONE TROPPO, its two immediate successors. Of the four mid-solo period George albums (his Dark Horse releases) it’s definitely a strong #2.


And it’s certainly not a bore.


Comments welcome.


Jeremy Boob

MAGICAL MYSTERY TOUR - The Movie

It's awful. Let's get that out in the open immediately. On second thought...it's beyond awful. I've watched it sober and I've watched it - ahem - in an "altered" state or two, and it's still bad. Bad, BAd, BAD.

Bad as in: poorly written, poorly conceived, terribly directed (if you could call it that), terribly acted (if you can even call it acting) and seemingly long (and it's under an hour!). This runaway train of a movie is something I rarely acknowledge to budding Beatles fans because I'm afraid to douse their budding flames.

As a kid, this film was a mystery to me. A mystery because I'd heard of it but was never able to see it. A HARD DAY'S NIGHT, HELP and YELLOW SUBMARINE had the occasional tv airing, but not MMT (ironic, considering it was made for television). [LET IT BE I was able to see courtesy of The Movie Channel on cable, believe it or not, and I did so 25+ times. There wasn't much to air back then on cable I guess!] The one time I was close to seeing it was at a local theater which had slated screenings during the summer at 2:00 p.m. (why? No clue). The problem was that it was only on Wednesdays, and my parents just weren't available for drop-off at the local cinema.

When I finally did see MMT it was on laserdisc, a laserdisc which had amazing stereo sound but so-so picture transfer. The framing always seemed to be a bit off as well. [Was MMT shot in the standard Brit aspect ratio of 1:66 x 1? I don't know, but that sure would account for what I believe are cropping issues.] The music sure did sound great coming through my stereo I have to say, and I still play that laserdisc just to hear the songs sound so good. How they sounded coming through a tinny tv set in late 1967 I can only imagine! To be fair though, I've never heard anyone really complain about the limited technology involved in watching the Beatles on tv back then. "Sure the Ed Sullivan appearance was amazing! Too bad about the sound though." I THINK NOT!

But back to MAGICAL MYSTERY TOUR. In the DVD for THE BEATLES ANTHOLOGY Paul defends it by saying (1) he'd heard that Steven Spielberg cited it as an influence and (2) it's the only extant performance of "I Am The Walrus." Has anyone ever been able to corroborate (1)? I'd love to see where that was referenced. And as for (2)...I wouldn't call it a "performance;" it's really a lip-sync'd clip with some heavy editing (it's not tied to the film in any way, that's for sure!).

So don't let anyone ever tell you that MAGICAL MYSTERY TOUR works on any level as a movie. Because it doesn't!

All comments welcome.

Best,

Jeremy Boob

STILL WITH THE BEATLES

First off I'd like to say thanks to all who have made comments in the past few weeks regarding my postings. While many of you had differing opinions I must say they were executed eloquently. Much obliged.

That said...I listened to WITH THE BEATLES a few days ago and it reminded me of something I read close to thirty years ago in Roy Carr and Tony Tyler's THE BEATLES: AN ILLUSTRATED RECORD (the first "Beatles Bible" I ever read...and reread...and reread...). Not having the book in front of me at the moment I hope you'll forgive me for paraphrasing: "and now, some ten years after its release, it still sounds as fresh as the day it was released." [I'm sure the actual quote is more articulate!] Today, some 40+ years after its release (11/22/63 in the U.K.), I couldn't agree more.

From the opening blast of "It Won't Be Long" - which has a great lick, one that George rearranged seven years later for "What Is Life" - to the leave-'em-beggin'-for-more closer "Money" I think one would be hard-pressed to find a more enjoyable pop album in the Beatles oeuvre. Let's take a quick look at the other tracks:

- "All I've Got To Do" - powerful Lennon vocal with some great harmonies from Paul and George;

- "All My Loving" - great guitar work!

- "Don't Bother Me" - a bit awkward, but still a George keeper;

- "Little Child" - suffers from a bad edit (two of 'em actually) but has some great piano and harmonica;

- "Till There Was You" - great guitar courtesy of George, and not a one-off either (they played it many times in concert and he handled it adroitly);

- "Please Mr. Postman" - one of their best cover songs ever, with some tremendous cymbals work from Ringo;

- "Roll Over Beethoven" - one of the top 10 covers of a Chuck Berry song ever (a darn shame the Fabs never recorded CB's "Memphis" cuz the BBC versions are killer);

- "Hold Me Tight" - a chugging guitar riff throughout, but I like it!

- "You Really Got A Hold On Me" - another great Lennon vocal;

- "I Wanna Be Your Man" - sure they gave it to the Stones, but it's a great one for Ringo to sing;

- "Devil In Her Heart" - would have fit perfectly on the PLEASE PLEASE ME lp (and that's not a complaint);

- "Not A Second Time" - great Lennon tune, but ever since Robert Palmer recorded it and wrote a second verse I can't help but think how much the Beatles version could have used one.

That's it. A killer album. I love it.

As always, comments welcome.

Jeremy Boob

UPCOMING SGT. PEPPER ANNIVERSARY

June 1st will be the 41st anniversary of the release of the SGT. PEPPER'S LONELY HEARTS CLUB BAND album (it drives me nuts when I see 'SERGEANT' spelled out, by the way). [June 1st is also my parents' wedding anniversary, but I don't have much to say about that except, "Congrats!"]

Let me say right from the start that I like PEPPER. Always have, always will. Unfortunately, that doesn't include "Within You Without You," which I've always disliked and always will. It simply doesn't fit. Now, when we used to listen to LPs it was the first song on side 2, and it was easy to skip right over it and not have to suffer through it (so what if I thought "When I'm 64" started with a burst of laughter? It sure looked like I had it right groove-wise when I eyeballed it for the needle drop!] Unfortunately, in the era of CD and digital players it sits like a speed bump right in the middle of the album: I begin to think about it as "Being For The Benefit Of Mr. Kite" heads towards its wondrous end and I'm not back up to speed again until the first notes of "When I'm 64."

I know I'm not the first - and surely not the last - to complain about "Within You Without You." It's probably the bane of every serious critic when discussing the album. Fortunately for the Beatles, however, the rest of the album packed such a wallop that WYWY can be politely dismissed as the weak track on PEPPER, as opposed to a sure sign that the Beatles were out of their minds to include it on the album in the first place. Just imagine if they'd opted to put "You Know My Name (Look Up The Number) on PEPPER as well. Oof.

I was only two years old when PEPPER was released, but I'm thinking that the Harrison fans of the time must have been quite disappointed when they heard PEPPER. ["He had three great songs on REVOLVER! What the heck happened?!"] And to think that his track for the follow-up project was "Blue Jay Way" doesn't exacly absolve George of his musical responsibility either. But i digress...

41 years later PEPPER is still considered the undisputed Beatles masterpiece. Which it isn't, of course: they don't have one. Each of their albums are masterpieces in their own way (except LET IT BE, but I don't count that one for reasons I won't go into at this moment), but now I think I'm contradicting myself. :-0

Happy 41st birthday SGT. PEPPER!

Jeremy Boob

SOME RAMBLINGS ON THE EARLY SOLO YEARS

When I was growing up in the 70s – I was born in 1965 and probably started listening to the Fabs when I was nine or ten – each of the Beatles was enjoying successful solo careers. [John’s was about to take a five-year hiatus, but no one knew that at the time.] At that point, the Beatles as an entity didn’t have the overshadowing effect it does now. The solo careers weren’t the footnotes they are slowly becoming as the Beatles legacy continues to grow; rather they were the logical progressions of artists/musicians who have simply moved on to other things and projects.

There is and can be no doubt that each of the Beatles produced his finest solo work in the 70s: John with PLASTIC ONO BAND (IMAGINE is great, but “I Don’t Wanna Be A Soldier Mama I Don’t Wanna Die” hasn’t aged well and was pretty lame to begin with), Paul with BAND ON THE RUN, George with ALL THINGS MUST PASS and Ringo with…well, RINGO. As it became more apparent that they weren’t going to reform, their respective solo careers took on more weight as each of them became less and less “Beatles” and more and more their own selves, striving for solo definition now that the weight of the group’s existence was lessening (while as the same time it’s legacy was beginning).

I listen to all of albums in the solo catalogue fairly regularly, depending on my mood. Some that don’t get played all that often are John’s SOME TIME IN NEW YORK CITY, Paul’s WILD LIFE, George’s DARK HORSE and Ringo’s BEAUCOUPS OF BLUES. STINYC is a real stinker, WL is just awful, DH is fairly week and BOB is a country album, of which I’m not a fan. And yet, I still listen to ‘em. Not sure I enjoy them all that much, but I do listen to ‘em.

Any thoughts are more than welcome.

Best,

Jeremy Boob

The Beatles At The BEEB

Every once in a while I go through my ever-growing personal archives and come across something I haven't listened to for quite a while (and usually with good reason). One thing I have listened to on a number of occasions is the nine-cd Great Dane set of The Beatles At The Beeb, a truly stupendous and near-complete collection of all available recordings of the Fabs from numerous sources, both good and bad. [To the casual reader: this is not an officially sanctioned set.]

Now, having listened to it from start to finish more times than I'd care to relate, I've opted to create a playlist for my digital media player of only the songs they recorded at the BBC that (1) they didn't write and (2) they never recorded for EMI. It's a great playlist if you ask me, albeit a bit repetitive (if they were such fans of "Too Much Monkey Business" and "Memphis," to name two of the most perf'd numbers, why didn't they record them for, oh, I don't know, BEATLES FOR SALE?). Numbers such as "Hippy Hippy Shake," "Crying, Waiting, Hoping" (recorded at the Decca audition, but didn't see the official light of day until the release of ANTHOLOGY 1), "Clarabella," and "Carol" really show what was bread and butter for them in their early days. These were songs that they really cut their teeth on and the revved-up perfs show a musical tightness that is at times exhilarating.

I'm sure I'll have more to say about the BBC recordings in the future, but that's all for now.

As always, comments welcome.

Best,

Jeremy Boob

Hollywood Bowl '64 Vs. Rooftop Concert '69

Went for a nice run over the weekend and listened to the '64 Hollywood Bowl concert and the '69 Rooftop Concert back-to-back just for the heck of it. Portions of both have been officially released, but there's something about listening to them "as they happened" that is truly rewarding. The Hollywood Bowl show presents the Beatles prior to their U.S. height of fame (arguable for sure, but I peg their States-side apogee closer to August '65, a full year after this concert) and the tapes - well, they USED to be tapes, as opposed to the digital mp3s they are on my iPod - show a lot of enthusiasm from the band and are much better sounding recording-wise than I thought they'd be. The stereo placement is fine (I'm sure it wasn't mixed: the tapes are fairly raw) and the crowd doesn't really drown out the music as much as the '77 LIVE AT THE HOLLYWOOD BOWL album would have you believe. A tight 1/2 hour, but a good one (hard to believe they were able to play the largely acoustic "If I Fell" and get away with it noisewise).

The Rooftop Concert, on the other hand, is much less a concert performance than a number of song run-throughs in an open-air environment. There are repeats ("Get Back" gets three perfs while "Don't Let Me Down" and "I've Got A Feeling" get two each), breakdowns (well, one at least: "Dig A Pony") and a superb one-off ("One After 909"). The between song banter is mostly of the in-joke variety and not really directed at anyone in particular as far as I can tell. Put all that aside though, and there's still some great performances by a band that played quite well together: three of the "takes" ended up on the released LET IT BE album. [There is a random correlation between this and how a number of the tracks from the '64 Hollywood Bowl concert ended up on the released album but I don't have the time today to go into further detail!]

No version of LIVE AT THE HOLLYWOOD BOWL has found it's way to a proper CD release; nor has the Rooftop Concert. A pity. I'm sure some day they'll be more widely available. Legally, I would hope.

Jeremy

[Any and all comments are welcome! Drop me a line at jeremyboob@yahoo.com. Probably won't be able to answer each and every e-mail but will do my best to address crossover issues in future posts.]

A Brief Introduction And Then On To Other Things...

Hello all! A few months back I offered my blogging services to Steve Marinucci and he was kind enough to take me up on it. I've been a fan of his site for a number of years now and can only hope to offer the quality and class in my ramblings that the site so well deserves. [For those who need to know who I am...suffice it to say I'm in my early 40s, have been a Beatles fan since 6th grade and know for a fact that I am not the best Beatleologist out there!]

That said, let's give it a go!

If you're reading this you've probably been asked any number of times, "What's your favorite Beatles song(s)?" I've been asked this by adults and kids (my kids, that is: I don't wave my Beatles fan flag in the faces of those too young to appreciate it) alike and I have to admit it's a toughie. I usually say I don't have one, offering up five or six titles that the person who's asked would be familiar with - let's face it: no Beatles-lover is ever going to ask another Beatles-lover what his/her favorite Fabs song is - and am usually greeted with something along the lines of, "Oh yeah, those are pretty good songs." That usually seals the conversation, and then we're usually on to the weather or some other topic. What's my point here? Well, for those of us truly steeped in Everything Beatles I believe it's impossible to pick a favorite when it comes to the Beatles. Unlike other bands, we've become so enmeshed in mono/stereo versions, alternate takes and whatnot that the fabrics of the songs have changed. For example, when I hear "Penny Lane" (one of the Top 5 I often quote to others) I can't help thinking "Great song/recording, but I do wonder why they cut that last horn blast off the end that I have on my BEATLES RARITIES album." Hearing a Beatles song doesn't make me sing along (sure, I do act like an idiot when it comes to the air guitar if my wife isn't around) but rather think about all the things I know that went into the song's writing/recording/release/etc. Things that a casual listener would never understand. And things I could never explain. Nor want to. I guess that's what sets us apart from the non-uber fans. Not above them, mind you; just apart.

Jeremy Boob

[Any and all comments are welcome! Drop me a line at jeremyboob@yahoo.com. Probably won't be able to answer each and every e-mail but will do my best to address crossover issues in future posts.]