Great lyrics on this one: "Nearly-was and almost-rans."

I think it's a tremendous song, and was glad to see it highlighted here. It may have some of the same chords as Oddfellows, but I don't see any other similarities. Really, you can't go wrong with R.E.M. in the '80s. Oddfellows is great too.

I like High-Speed Train too, plus the title track and Aftermath.

That would have been a great choice, but I love this song as well.

My shoes are gone, my life spent…

I was thinking Peter played drums on one or two songs from "Up" as well, but I could be wrong on that.

So you're blaming Obama and Patton Oswalt for deaths caused by the coalition AND the Taliban? That's … interesting.

Low ebb, low ebb, high tide.

Their finest hour.

Pop Song '89 is intentionally disposable, yet after all these years I've never gotten tired of it. In the liner notes of their recent Best of compilation, Bill Berry hailed Mills' fuzz-bass solo, which I'd never really noticed before.

"I don't care what color you are. I don't care if you're green, or … lime green."

I think his voice is about as good as it ever was. Their songs don't exactly require a virtuoso.

I do remember that one night when he didn't phone it in, though…

THOSE AREN'T PILLOWS!

Except in this case, I'm afraid it will end in tragedy.

I'm pretty sure the word is "avoision."

As a "film" it's pretty ramshackle. As a vehicle for Bill Murray at his absolute comedic peak, it's a classic. (I would make the same argument for say, the Marxes in Monkey Business or Woody Allen in Bananas.)

They had done some scenes together when Chase came back to host SNL (as well as one legendary fistfight).

Also, the original script was apparently much weirder, starting in the middle of the story and forcing the viewer to figure out Phil's predicament gradually. My impression has always been that the feud between Ramis and Murray had to do with Ramis reworking that original script (which Murray has said was brilliant) to…

In chaps? That must have been from the director's cut.