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In this thread I rank my favorite Beatles songs: 204-1. (11 Viewers)
- Thread starter krista4
- Start date
krista4
Footballguy
2. Across The Universe (Let It Be, 1970)
Beatles versions - all four official versions linked for comparison
Anthology 2: Spotify YouTube
WWF: Spotify YouTube
Let It Be: Spotify YouTube
Let It Be...Naked: Spotify YouTube (Spotify link is to whole album as I can't find the song)
There’s no reason I should love this song so much. I can’t connect with the spiritual vibe of “Jai guru deva om” (approximate translation is “Victory to God divine”), and I don’t get some soccer-mom-faux-empowerment feeling from the “nothing’s gonna change my world” part. And yet, if I could hear the right recording of it, it would probably be my #1 song. Something in there just scratches my musical itch. What do I mean by the right recording? Well, there are four officially released versions, not to mention any bootlegs, and each of them has something that I wish were slightly different in order to make it my “perfect” version.
I’ll get to the issue of the recordings below, but first here’s what I love most about the song: John’s vocal, the meter, the phrasing, and the lyrics. On the not-messed-with recordings, his voice sounds delicate and gentle, intimate and as beautiful as it’s ever sounded. As for the meter, I love the breathless propulsion and then dramatic slow-down resulting from John’s only singing one note for every syllable in the verses until each time he gets to “universe,” where he gives it a little trill. And finally, there are the lyics and phrasing. My favorite non-Beatle songwriter is legit-poet Leonard Cohen, and the lines in this song are to me as stunning a work of poetry as some of Cohen’s best works. The imagery is stunningly evocative, and the internal rhymes are sublime. The verses are every bit as masterful when read simply as poetry as when committed to song:
Words are flowing out
Like endless rain into a paper cup
They slither wildly as they slip away across the universe
Pools of sorrow waves of joy
Are drifting through my opened mind
Possessing and caressing me
Images of broken light
Which dance before me like a million eyes
They call me on and on across the universe
Thoughts meander like a
Restless wind inside a letter box
They tumble blindly as they make their way across the universe
Sounds of laughter, shades of life
Are ringing through my opened ears
Inciting and inviting me
Limitless undying love
Which shines around me like a million suns
It calls me on and on across the universe
The lyrics came to John as he was lying in bed with his first wife and irritated with her for some reason, but they quickly turned into a “cosmic song” for him: “They were purely inspirational and were given to me. I don't own it, you know; it came through like that. I don't know where it came from, what meter it's in, and I've sat down and looked at it and said, 'Can I write another one with this meter?' Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship; it wrote itself. It drove me out of bed. It's like being possessed; like a psychic or a medium. The thing has to go down. It won't let you sleep, so you have to get up, make it into something, and then you're allowed to sleep.” John considered these possibly the best lyrics he ever wrote, and this time I agree with John – they’re perfectly breathtaking.
As to those recordings… The song was originally recorded in early 1968 and intended as a possible single, but it was shelved in favor of “Lady Madonna” and others. On these first recordings were John on vocal, George on a sitar for the intro and tambura elsewhere, John and Paul on acoustic guitars, and Ringo on svaramandal. Take two of these recordings was released on Anthology 2 in 1996.
As the band continued to record and re-record the song, Paul decided to step outside the studio and ask a couple of the Apple Scruffs to join the newly harmonized chorus on backing vocals. Two teenage girls then joined as singers on the chorus, and the group also added the wah-wah guitar part, maracas, and Paul on piano. The first officially released version was based on this version and released in December 1969 on a charity album for the World Wildlife Fund. But before release, the sounds of birds and children playing were added, and the song was sped up a semitone from D to E flat.
The next version to be released was the Spector-ized version on Let It Be in 1970. For this version, Spector slowed the song back down, all the way to D flat, stripped out the existing backing vocals, and added a 50-piece orchestra and a choir.
In 2003, the Let It Be...Naked version was mixed and released, stripping out from the Let It Be version all but John’s vocal and acoustic guitar and George’s tambura.
Or something like that. Whew.
What we ended up with, then, were wildly different versions of the same song, all with different tempos and feels. John loved the Spector version, calling it one of his best songs, and he even went so far as to accuse Paul of having sabotaged the earlier versions (for instance, by bringing in girls from the street to sing backing vocals). I, as usual, don’t enjoy the Spector-ization at all. But I also am not a fan of the WWF version due to all the bird noises and faster tempo, which I think makes John vocal sound wrong. That leaves me with the naked version, which I find too stripped down, and the Anthology version, which ends up as my favorite but I really want that wah-wah guitar and some other elements on there.
Ideally, this is what someone needs to do for me: take the version recorded for WWF before the birds and #### were added and it was sped up, then also strip out the crappy girls’ voices and add the sitar from Anthology 2. Or, take the Anthology 2 version and add the backing harmonies from Paul and George, the maracas, the bass, and the wah-wah guitar. Get to it!
Fun fact: In 2008, to celebrate the 40thanniversary of this song and NASA’s 50thanniversary, the song was transmitted into space, toward the star Polaris, 431 light years from Earth, becoming the first song ever intentionally transmitted into deep space.
Mr. krista:
[Regarding naked version.] “That’s definitely what John Lennon sounds like. He doesn’t sound like that in the other one.
[Regarding Let It Be version.] It’s slowed down, so it sounds like a lower key. There’s all that reverb because that’s how Phil Spector could make it sound dreamy, because he’s a hack. Listen to all that whoo-ooo-ooo part.
“Obviously I really like that song. The naked version is the best version. Really not digging Phil Spector version. Seems like the studio stuff they’d done before was for joyful experimentation or to make a point on the record, and this is just tricks and hacks and Phil Spector’s trying to justify a paycheck. That orchestration is how you’d orchestrate an Esther Williams dream sequence in a Hollywood production, which is where he’s at. It’s a lovely song. I like the straight eighth-notes, because it seems breathless since the end of the line is the beginning of the next line. It’s strange that more people don’t recognize it as one of the best Beatles songs, and that they seemed so unsatisfied even though they recorded it 500 different times.”
Suggested covers – Rufus Wainwright Fiona Apple David Bowie
Beatles versions - all four official versions linked for comparison
Anthology 2: Spotify YouTube
WWF: Spotify YouTube
Let It Be: Spotify YouTube
Let It Be...Naked: Spotify YouTube (Spotify link is to whole album as I can't find the song)
There’s no reason I should love this song so much. I can’t connect with the spiritual vibe of “Jai guru deva om” (approximate translation is “Victory to God divine”), and I don’t get some soccer-mom-faux-empowerment feeling from the “nothing’s gonna change my world” part. And yet, if I could hear the right recording of it, it would probably be my #1 song. Something in there just scratches my musical itch. What do I mean by the right recording? Well, there are four officially released versions, not to mention any bootlegs, and each of them has something that I wish were slightly different in order to make it my “perfect” version.
I’ll get to the issue of the recordings below, but first here’s what I love most about the song: John’s vocal, the meter, the phrasing, and the lyrics. On the not-messed-with recordings, his voice sounds delicate and gentle, intimate and as beautiful as it’s ever sounded. As for the meter, I love the breathless propulsion and then dramatic slow-down resulting from John’s only singing one note for every syllable in the verses until each time he gets to “universe,” where he gives it a little trill. And finally, there are the lyics and phrasing. My favorite non-Beatle songwriter is legit-poet Leonard Cohen, and the lines in this song are to me as stunning a work of poetry as some of Cohen’s best works. The imagery is stunningly evocative, and the internal rhymes are sublime. The verses are every bit as masterful when read simply as poetry as when committed to song:
Words are flowing out
Like endless rain into a paper cup
They slither wildly as they slip away across the universe
Pools of sorrow waves of joy
Are drifting through my opened mind
Possessing and caressing me
Images of broken light
Which dance before me like a million eyes
They call me on and on across the universe
Thoughts meander like a
Restless wind inside a letter box
They tumble blindly as they make their way across the universe
Sounds of laughter, shades of life
Are ringing through my opened ears
Inciting and inviting me
Limitless undying love
Which shines around me like a million suns
It calls me on and on across the universe
The lyrics came to John as he was lying in bed with his first wife and irritated with her for some reason, but they quickly turned into a “cosmic song” for him: “They were purely inspirational and were given to me. I don't own it, you know; it came through like that. I don't know where it came from, what meter it's in, and I've sat down and looked at it and said, 'Can I write another one with this meter?' Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship; it wrote itself. It drove me out of bed. It's like being possessed; like a psychic or a medium. The thing has to go down. It won't let you sleep, so you have to get up, make it into something, and then you're allowed to sleep.” John considered these possibly the best lyrics he ever wrote, and this time I agree with John – they’re perfectly breathtaking.
As to those recordings… The song was originally recorded in early 1968 and intended as a possible single, but it was shelved in favor of “Lady Madonna” and others. On these first recordings were John on vocal, George on a sitar for the intro and tambura elsewhere, John and Paul on acoustic guitars, and Ringo on svaramandal. Take two of these recordings was released on Anthology 2 in 1996.
As the band continued to record and re-record the song, Paul decided to step outside the studio and ask a couple of the Apple Scruffs to join the newly harmonized chorus on backing vocals. Two teenage girls then joined as singers on the chorus, and the group also added the wah-wah guitar part, maracas, and Paul on piano. The first officially released version was based on this version and released in December 1969 on a charity album for the World Wildlife Fund. But before release, the sounds of birds and children playing were added, and the song was sped up a semitone from D to E flat.
The next version to be released was the Spector-ized version on Let It Be in 1970. For this version, Spector slowed the song back down, all the way to D flat, stripped out the existing backing vocals, and added a 50-piece orchestra and a choir.
In 2003, the Let It Be...Naked version was mixed and released, stripping out from the Let It Be version all but John’s vocal and acoustic guitar and George’s tambura.
Or something like that. Whew.
What we ended up with, then, were wildly different versions of the same song, all with different tempos and feels. John loved the Spector version, calling it one of his best songs, and he even went so far as to accuse Paul of having sabotaged the earlier versions (for instance, by bringing in girls from the street to sing backing vocals). I, as usual, don’t enjoy the Spector-ization at all. But I also am not a fan of the WWF version due to all the bird noises and faster tempo, which I think makes John vocal sound wrong. That leaves me with the naked version, which I find too stripped down, and the Anthology version, which ends up as my favorite but I really want that wah-wah guitar and some other elements on there.
Ideally, this is what someone needs to do for me: take the version recorded for WWF before the birds and #### were added and it was sped up, then also strip out the crappy girls’ voices and add the sitar from Anthology 2. Or, take the Anthology 2 version and add the backing harmonies from Paul and George, the maracas, the bass, and the wah-wah guitar. Get to it!
Fun fact: In 2008, to celebrate the 40thanniversary of this song and NASA’s 50thanniversary, the song was transmitted into space, toward the star Polaris, 431 light years from Earth, becoming the first song ever intentionally transmitted into deep space.
Mr. krista:
[Regarding naked version.] “That’s definitely what John Lennon sounds like. He doesn’t sound like that in the other one.
[Regarding Let It Be version.] It’s slowed down, so it sounds like a lower key. There’s all that reverb because that’s how Phil Spector could make it sound dreamy, because he’s a hack. Listen to all that whoo-ooo-ooo part.
“Obviously I really like that song. The naked version is the best version. Really not digging Phil Spector version. Seems like the studio stuff they’d done before was for joyful experimentation or to make a point on the record, and this is just tricks and hacks and Phil Spector’s trying to justify a paycheck. That orchestration is how you’d orchestrate an Esther Williams dream sequence in a Hollywood production, which is where he’s at. It’s a lovely song. I like the straight eighth-notes, because it seems breathless since the end of the line is the beginning of the next line. It’s strange that more people don’t recognize it as one of the best Beatles songs, and that they seemed so unsatisfied even though they recorded it 500 different times.”
Suggested covers – Rufus Wainwright Fiona Apple David Bowie
Leroy Hoard
Footballguy
krista4
Footballguy
Beautiful thoughts. Thanks. I'll get the donation going later today. And I'm not giving up on her picking up that Hofner bass.
krista4
Footballguy
I'm going to put a snippet of each song on a tape loop and then randomly draw 10 of them.
Dr. Octopus
Footballguy
I don't remember seeing Real Love ranked yet, so that's my guess.I wanted to post both write-ups BAM! BAM! but am swamped with work today so haven't made it to the next one yet. I wonder what it could be??
Here's a cover you can us: Real Love
Leroy Hoard
Footballguy
Always loved the Apple video cover of it, great combo of visual and sound. I think her boyfriend of that time directed it. And the guy in the hat near the end is John C. Reilly.
Man of Constant Sorrow
Footballguy
K, 
the write-up for "Across The Universe"!
I have more to say about it, than even "I'm So Tired". And since I ranked it a mere one spot higher than you, on my list, I will have the honor of doing the highest-ranker-write-up for it.
For now, I will say that I am so happy that you rank it so highly. Not because it matches my list, but because I now know that someone else gets such pleasure... I feel it too!
the write-up for "Across The Universe"! I have more to say about it, than even "I'm So Tired". And since I ranked it a mere one spot higher than you, on my list, I will have the honor of doing the highest-ranker-write-up for it.
For now, I will say that I am so happy that you rank it so highly. Not because it matches my list, but because I now know that someone else gets such pleasure... I feel it too!
Ted Lange as your Bartender
Footballguy
I assumed it was going to be Leave My Kitten Alone
(by the way, how did this song not make it onto any album? It’s definitely better than at least 10 or 15 of their proper songs. Certainly not their worst cover)
DA RAIDERS
Footballguy
a brilliant one, that my parents would sing all the time! my dad loved bluegrass. and grass. my dad loved the guitar work in this one and would play it often.
krista4
Footballguy
Real Love and Free As A Bird were discussed earlier as to why they wouldn't be in my rankings.
Dr. Octopus
Footballguy
I read you write-ups so I do remember that.
ETA: for some reason I actually like that Adam Sandler cover and just wanted to link it.
Last edited by a moderator:
Man of Constant Sorrow
Footballguy
heckmanm
Footballguy
Final album stats: Revolver your clear "winner" with both mean and median rankings 14-16 spots better than runner-up Help!
Album High Low Mean Median
---------------------- ---- --- ---- ------
Please Please Me 35 202 131 147
With the Beatles 12 194 140 149
A Hard Day’s Night 23 161 82 72
Beatles for Sale 56 185 137 149
Help! 4 157 72 64
Rubber Soul 1 158 75 77
Revolver 5 159 58 48
Sgt Pepper’s Lonely Hearts Club Band 6 165 92 89
Magical Mystery Tour 44 197 143 160
The Beatles (aka White Album) 10 204 114 120
Yellow Submarine 31 171 114 127
Abbey Road 3 196 90 88
Let it Be 2 200 108 105
Singles, etc. 9 198 98 99
Standings by mean (average) rank:
Album High Low Mean Median
---------------------- ---- --- ---- ------
Revolver 5 159 58 48
Help! 4 157 72 64
Rubber Soul 1 158 75 77
A Hard Day’s Night 23 161 82 72
Abbey Road 3 196 90 88
Sgt Pepper’s Lonely Hearts Club Band 6 165 92 89
Singles, etc. 9 198 98 99
Let it Be 2 200 108 105
The Beatles (aka White Album) 10 204 114 120
Yellow Submarine 31 171 114 127
Please Please Me 35 202 131 147
Beatles for Sale 56 185 137 149
With the Beatles 12 194 140 149
Magical Mystery Tour 44 197 143 160
Rubber Soul and Hard Day's Night would flip-flop based on median rank, but nothing else would change. Abbey Road and Sgt Pepper in a near dead heat.
Album High Low Mean Median
---------------------- ---- --- ---- ------
Please Please Me 35 202 131 147
With the Beatles 12 194 140 149
A Hard Day’s Night 23 161 82 72
Beatles for Sale 56 185 137 149
Help! 4 157 72 64
Rubber Soul 1 158 75 77
Revolver 5 159 58 48
Sgt Pepper’s Lonely Hearts Club Band 6 165 92 89
Magical Mystery Tour 44 197 143 160
The Beatles (aka White Album) 10 204 114 120
Yellow Submarine 31 171 114 127
Abbey Road 3 196 90 88
Let it Be 2 200 108 105
Singles, etc. 9 198 98 99
Standings by mean (average) rank:
Album High Low Mean Median
---------------------- ---- --- ---- ------
Revolver 5 159 58 48
Help! 4 157 72 64
Rubber Soul 1 158 75 77
A Hard Day’s Night 23 161 82 72
Abbey Road 3 196 90 88
Sgt Pepper’s Lonely Hearts Club Band 6 165 92 89
Singles, etc. 9 198 98 99
Let it Be 2 200 108 105
The Beatles (aka White Album) 10 204 114 120
Yellow Submarine 31 171 114 127
Please Please Me 35 202 131 147
Beatles for Sale 56 185 137 149
With the Beatles 12 194 140 149
Magical Mystery Tour 44 197 143 160
Rubber Soul and Hard Day's Night would flip-flop based on median rank, but nothing else would change. Abbey Road and Sgt Pepper in a near dead heat.
Leroy Hoard
Footballguy
Man of Constant Sorrow
Footballguy
That line; it could be the subject of a dissertation. Perhaps even in certain life science programs.
We need a grant, Leroy.
wikkidpissah
Footballguy
Hmm. Weird thing. Whenever i listen to Across the Universe, i "hear" a descending modal scale beginning on the word "world" in the chorus. It's what i like most about the song (because John is modes and modes are John) - i hear it descend three times and ascend the 4th. Just listened to all four versions you listed and none of them have it. The WWF version suggests it, but that's the first time i've heard that version so that's not it. There's a descending scale at the end of the Spector, but not in the way i hear it. Must be sumn my head just adds. Same thing happens a lot when i listen to Joni Mitchell records because, in a lot of her songs, she comes up with a melody, finds the harmony, then throws out the melody and sings the harmony. Of course, then a harmony singer listens to it and "hears" Joni's first draft. That's fun, but this is perplexing.
Most importantly, this means we have the same favorite Beatles' song
. My Mary smiles up to me and her breastbone rattles with a purr of peace & pleasure.
krista4
Footballguy
1. In My Life (Rubber Soul, 1965)
Beatles version: Spotify YouTube
There are only two songs I’ve ever heard that I thought were perfect in their composition and recording, by which I mean that I listen to them and can’t think of a single sound that I would add or subtract or change, or tempo or meter change I would make, not even a single pause I’d extend or contract. One is Big Star’s “The Ballad of El Goodo.” And then there’s this.
In 1964, a journalist named Kenneth Allsop asked John why he didn’t write more personal songs, such as the poetry John wrote in his book, In His Own Write. Inspired by that question along with his then-current fascination with Bob Dylan, John set out out to write what he considered the first song to be written specifically about his own life, “a journalistic vision of a trip from home to downtown on a bus naming every sight.” John considered this “remembrance of friends and lovers of the past” his first major piece of work: “Up till then it had all been sort of glib and throwaway. And that was the first time I consciously put my literary part of myself into the lyric.”
Though John wrote the lyrics, Paul contributed significantly to the composition of the song by contributing some of the melody, including on the bridges, as well as the three-part harmonies. Paul later claimed a bit more, making this one of a couple of songs where the two vocally and publicly disagreed on a substantial part of the songwriting credit, but I don’t want to focus on that here.
As it turns out, it’s hard for me to write about perfection. This isn’t a song I want to break down element by element, because the beauty arises from each element working perfectly with the others. That said, I’ll list a few of the highlights for me:
Mr. krista: “You know how I feel about this song. The measured considered drumming is perfect for a song about someone considering or taking stock of their life, and looking back on choices they’ve made with affection at the remove of a few years. It’s simply perfect. A hack would do it too fast. He wisely doesn’t hit the high hat on each note because it’s in eighth notes, which would sound crazy fast and rushed and not measured. But there’s nothing keeping time – he uses the snare because he’s a lefty, but the snare is always right there where it needs to be, just like the protagonist, who wanders around and is there. Everything in the song is about the rest of the song. It works beautifully. It’s such a beautiful and simple sentiment that it can be expressed perfectly in that short amount of time. It’s just…great.”
Suggested covers: Johnny Cash And because he credits The Beatles with his entire musical career, Ozzy Osbourne
Beatles version: Spotify YouTube
There are only two songs I’ve ever heard that I thought were perfect in their composition and recording, by which I mean that I listen to them and can’t think of a single sound that I would add or subtract or change, or tempo or meter change I would make, not even a single pause I’d extend or contract. One is Big Star’s “The Ballad of El Goodo.” And then there’s this.
In 1964, a journalist named Kenneth Allsop asked John why he didn’t write more personal songs, such as the poetry John wrote in his book, In His Own Write. Inspired by that question along with his then-current fascination with Bob Dylan, John set out out to write what he considered the first song to be written specifically about his own life, “a journalistic vision of a trip from home to downtown on a bus naming every sight.” John considered this “remembrance of friends and lovers of the past” his first major piece of work: “Up till then it had all been sort of glib and throwaway. And that was the first time I consciously put my literary part of myself into the lyric.”
Though John wrote the lyrics, Paul contributed significantly to the composition of the song by contributing some of the melody, including on the bridges, as well as the three-part harmonies. Paul later claimed a bit more, making this one of a couple of songs where the two vocally and publicly disagreed on a substantial part of the songwriting credit, but I don’t want to focus on that here.
As it turns out, it’s hard for me to write about perfection. This isn’t a song I want to break down element by element, because the beauty arises from each element working perfectly with the others. That said, I’ll list a few of the highlights for me:
- The piano part that I thought for years was a harpsichord. Actually that effect was purposeful, as George Martin describes it: “I did it with what I call a 'wound up' piano, which was at double speed – partly because you get a harpsichord sound by shortening the attack of everything, but also because I couldn't play it at real speed anyway. So I played it on piano at exactly half normal speed, and down an octave. When you bring the tape back to normal speed again, it sounds pretty brilliant.” Fittingly, Martin threw down this bit while John was having a break for tea, likely having left with one of his usual vague but insistent directives such as, “Play it like Bach!” or “Make it sound Elizabethan!”
- Those harmonies weaving in and out, bringing emphasis to the lines John sings solo. And John’s vocal, among my favorites from him.
- That extra beat/pause just before John goes into the falsetto near the end.
- And John’s falsetto near the end.
- George’s short but poignant guitar intro.
- Drums and percussion. Mr. krista elaborates on this below. I’ll just mention the little triplets before dropping back into syncopation on the fifth and seventh lines of the verses. Subtle but sublime.
- I understand the lyrics are great, but I don’t care. What I hear is only how they’re sung, which is wistfully but with nearly equal parts sadness and contentment. I don’t have to listen to the words but from only the vocal sound can picture John thinking both fondly and with melancholy about earlier times, not just sappy nostalgia but a clear-eyed reminiscence along with an equal appreciation for what he has today.
Mr. krista: “You know how I feel about this song. The measured considered drumming is perfect for a song about someone considering or taking stock of their life, and looking back on choices they’ve made with affection at the remove of a few years. It’s simply perfect. A hack would do it too fast. He wisely doesn’t hit the high hat on each note because it’s in eighth notes, which would sound crazy fast and rushed and not measured. But there’s nothing keeping time – he uses the snare because he’s a lefty, but the snare is always right there where it needs to be, just like the protagonist, who wanders around and is there. Everything in the song is about the rest of the song. It works beautifully. It’s such a beautiful and simple sentiment that it can be expressed perfectly in that short amount of time. It’s just…great.”
Suggested covers: Johnny Cash And because he credits The Beatles with his entire musical career, Ozzy Osbourne
ScottNorwood
Footballcutie
DA RAIDERS
Footballguy
it was pretty damn cool!.. i miss the #### out of my dad, and it's been 27 years. mostly, i wish he could have met my wife and daughter. thinking about him singing to his granddaughter is making me cry as i write this.
@krista4 thank you so much for this thread.
Binky The Doormat
Footballguy
krista4
Footballguy
There's another version I've read about but not heard that's out there somewhere. It could have been on that one.Hmm. Weird thing. Whenever i listen to Across the Universe, i "hear" a descending modal scale beginning on the word "world" in the chorus. It's what i like most about the song (because John is modes and modes are John) - i hear it descend three times and ascend the 4th. Just listened to all four versions you listed and none of them have it. The WWF version suggests it, but that's the first time i've heard that version so that's not it. There's a descending scale at the end of the Spector, but not in the way i hear it. Must be sumn my head just adds. Same thing happens a lot when i listen to Joni Mitchell records because, in a lot of her songs, she comes up with a melody, finds the harmony, then throws out the melody and sings the harmony. Of course, then a harmony singer listens to it and "hears" Joni's first draft. That's fun, but this is perplexing.
Most importantly, this means we have the same favorite Beatles' song
There's also a take that was released on the White Album 50th anniversary edition last year, but I don't think that would be it.
Leroy Hoard
Footballguy
wikkidpissah
Footballguy
krista4
Footballguy
I don't know either but just assumed it was something very good.what are these supposed to represent?
Man of Constant Sorrow
Footballguy
Powerhouse finish, K!
As my #10, "In My Life" may have well been my #2. This part of the list is dense!
Bravo
and Happy Kitty 
! I'm impressed, inspired & insaned.
wikkidpissah
Footballguy
Just found Tape #1 of the Alphabetical Beatles i taped off the radio 30some years which was how i listened to the Fabs for a generation. It's the Spector on that. So, just a trick of my head, more or less. Hmm.
Ilov80s
Footballguy
Nigel Tufnel
Footballguy
Tom Hagen
Footballguy
Now that # 1 is revealed I'm curious if you remember what Mr. Krista's incorrect guesses were? I wonder if he was at least close.
Nick Vermeil
Footballguy
krista4
Footballguy
krista4
Footballguy
Yeah, they were both top 10. I think one was "I'm So Tired" and the other was "Across The Universe."
Man of Constant Sorrow
Footballguy
?
Nick Vermeil
Footballguy
Nigel Tufnel
Footballguy
Thanks krista. I would have commented more but you basically covered everything. I would buy the book.
Man of Constant Sorrow
Footballguy
Man of Constant Sorrow
Footballguy
Oh, you're right; I'm not the highest.
But, I'm high enough; and no one's gonna stop me!
Man of Constant Sorrow
Footballguy
Ah, I need to add:
While I fully intend to post my "I'm So Tired" write up, I plan to do so respectful of the official process.
Thus, I shall wait until we get to the top of the slide.
While I fully intend to post my "I'm So Tired" write up, I plan to do so respectful of the official process.
Thus, I shall wait until we get to the top of the slide.
Nick Vermeil
Footballguy
Haha. No disrespect @krista4! I swear it looks like a turkey.
(it's a confetti ball. Just figured that out)
Yankee23Fan
Fair Tax!
Good, so now that you are done and we can stop pandering to get you to the finish line....
...... wtf is your problem with Let It Be?
Asking for a friend.
...... wtf is your problem with Let It Be?
Asking for a friend.
