Well, I've never cared for Imagine, and Across The Universe sort of almost works, but Julia? A pretty good example of that vein of free-verse song, few if any rhymes, which is pretty hard to pull off. And the tune is very nice with no words at all--I like it thumpier, less wispy. Gee, PeterT, of all the Beatles tunes to pick on, it seems an odd selection.

Clapton's Wonderful Tonight is so bad it's hilarious, so slow, ponderous, and unaware of itself.

Elton John and Bernie Taupin--I have to confess I can only stand their ersatz teenybopper vein, like Bennie and the Jets, Crocodile Rock. It's amusing and disarming that anyone would ever bother to make stuff up like that--artificial bubble gum, a whole nother remove from reality, like inventing a margarine substitute.

Pause. Bill Monroe's standard bluegrass instrumental dismount-bounce-back-dismount-again, in any song. I've tried and tried to love this stuff. I like his slightly dirty style of playing mandolin pretty well, but then I give up. It just reminds me of the kinds of rock and jazz I also don't care for. Dog music, panting with it's tongue hanging out, blowing it's hot breath in your face. I don't get it.

I think Ian Anderson was probably thinking If I put a stupid rhyme in a dumb song I'll get radio play so people might buy the other songs. He might've also considered stuttering. (BbbbBenny and the Jets. Ttttttalkin Bout my ggggeneration. Bbbbbaby you just ain't seen nothin yet. If only he'd done BBbungle in the Jjjjungle it would have been a monster.) Some of his other stuff leaves me more perplexed.

Neil Diamond. The end of the Last Waltz always struck me as an odd gathering of terrific songwriters, and Neil Diamond.