It was The Beatles night. Give the people what they want and they'll turn up. I even persuaded Jeanne (Mrs. Turner), to slither out of a social obligation with a childhood friend to come and sing with us. Arlene, Ann, Ken, Jen, WendySue, Patricia, Jack, Suzan and Bill were in attendance, as well as Rich (for the second time), and newcomers Patty and her 8 year old son Evan. Patty and Evan have been playing the uke for about half a year. Evan has also been studying piano since age five.

1. For No One, from Revolver, 1966 (Ken)

Here was a heart breaker to open the show. With simple phrases, Paul gets across the devastation of a failed romance. "You stay home She goes out She says that long ago She knew someone But now he's gone She doesn't need him". For this jilted fellow, it must feel almost like a death, a tragedy from which he'll not recover.

2. Glass Onion, from The Beatles, more commonly called, and henceforth to be referred to as the White Album, 1968 (Dan)

I suspect Lennon put to paper a bunch of trippy, disjointed images that don't mean anything in particular. I got to play this in a bar in Massapequa Park a few weeks ago, on an electric piano, on an open mic night, backed by drums, bass, amplifiers, the works. It was a rare, thrilling rock experience.

3. Rock and Roll Music, from Beatles 65, 1965 (Arlene)

This was a rock and roll standard practically since Chuck Berry released it in 1957. I wonder how John kept from injuring his throat after screaming this one. Arlene says we should put this on our playlist for a concert performance.

4. I Want to Hold Your Hand, from Meet the Beatles, 1964 (Arlene)

We played this well, capped off by the exciting ending on the word "ha-a-a-a-a-a-and."

5. I Will, the White Album, 1968 (Jen)

Lovely. It would make a good wedding song.

6. Mother Nature's Son, the White Album, 1968 (Jen)

Oh, man. Gorgeous. This was my top pick of the night. Fifty years ago, the White Album came to us as a gift from Heaven. God knows I don't like to encourage belief in the supernatural, but I suppose it wouldn't hurt to go to your favorite house of worship, light a candle, and give thanks and praise for the songs on this glorious record. The lads were at the peak of their creative powers. Good music was oozing out of them and they couldn't prevent it.

7. Till There Was You, Meet the Beatles, 1964 (Ken)

Anita Bryant, later to become the orange juice industry spokeswoman, had a Top 40 with this in 1959. Shirley Jones, later to become Mrs. Partridge, sang this in the 1962 movie The Music Man. This was pretty to play. Arlene was able to circumvent a pesky [Ebm] with the far easier [Gdim] AND it sounded good. How did she figure that one out? Epiphanies such as that rarely land on me.

8. I'm Looking Through You, Rubber Soul, 1965 (Arlene)

The easy chords changed very very quickly, sometimes after each word, but we made it through.

9. All You Need Is Love, Magical Mystery Tour, 1967 (Ken)

The chords on this also looked easy, but we could not get the timing correct.

10. While My Guitar Gently Weeps, the White Album, 1968 (Ken)

Very nice, George.

11. All Together Now, Yellow Submarine, 1969 (Bill)

On this simple song, the verses and bridge went fine, but we were not together while playing and singing the "all together now" chorus.

12. All My Loving, Meet the Beatles, 1964 (Rich)

First we did it too slow. We did it again faster, some of us a little faster or a little slower than others, and we wobbled a bit. This is where a music teacher or bassist would have helped to keep us in line.

13. In My Life, Rubber Soul, 1965 (Rich) Lennon's song of love and nostalgia went well but suffered from lack of a harpsichord. Someone must remember to bring one in next time.

14. Devil In Her Heart, Beatles Second Album (Yes, that's the actual title of the album. Pretty unimaginative.), 1964 (Arlene)

I liked this one. Harrison sang it. It wasn't a radio hit. One suggestion I'd make is to put a [tacet] on the [D7] at the end of the lines "She's an angel sent to me" and "Listen, can't you see?" Sometimes that stop sign can add interest to a song, and demonstrate that the players are coordinated.

15. Every Little Thing, Beatles VI, 1964 (Arlene)

Also not a single, here's an overlooked gem.

16. Maxwell's Silver Hammer, Abbey Road, 1969 (Ken)

Our final number was sneaked in just under the wire at a few minutes to nine, but we didn't get to do the last verse. This was Arlene's favorite of the evening.

For the unfortunates who were absent this week (yes you, Louise and Larry), we shall carry on with The Beatles theme next time.

-- Dan.