Ha, I love it too. I remember playing this song for a rock dude I knew back in the day…he couldn't believe this song was ELP. He just didn't believe it with all the chiming 12-strings and the "ooooohs" in the chorus. Just wait, I said. Sure enough…at the end of the song here comes Emerson with all his otherworldly…

Hey, I'm a hardcore prog fan and I totally agree! I loved that Powell album in the 80s. Listened to it not too long ago, and although a lot of the keyboard and production is kind of dated (hell, all of ELP's work is dated, I guess), it still holds up and has some really nice moments and melodies.

"creamiest Hollandaise" is the absolute perfect way to describe what Scott did on this movie. Well done, sir.

Exactly—sorry if I was unclear. The fact that Martin insisted they streamline and get down to business is what I meant. Just listened to Abbey Road this morning—a lot of depth there, incredibly crisp and detailed vocals. Just a stunning work.

Well, you could be right. I'm just going on what I've heard over the years about Paul being upset about the strings on that song. Maybe he had a change of heart or wanted to make peace? Either way, I can't stand those strings and thought they were well outside what the Beatles had established with that kind of…

That's my favorite Beatles track, too. Crisp, refreshing, classically constructed, beautiful melody in the best McCartney style—and it truly captures the sunny optimism of 1966 London.

Indeed, sir. And I love that Paul and Martin realized that they shouldn't use syrupy strings and instead keep the strings relatively dry…something that Phil Spector should have done when he fucked up The Long and Winding Road. That string-quartet sound was truly original.

Martin truly was the best—he was able to harness McCartney and Lennon's wild musical impulses and instincts into actual music, for example, McCartney would sing a line for a horn part, and Martin would write it up and refine it. Lennon once asked Martin to make one of his songs sound like an orange — I mean, that's…

Ha…it really was something. Conrad was such a prick, and Gabe would not be denied! I learned a good lesson about not judging a book by its cover that day. And Telly Savalas was lurking around, being pretty off-color I think. It was a great time.

I'm all for the convenience of the download and not sifting through a CD's worth of shit and filler to get to the good tracks. But…BUT: I'm going to miss the thematic experience of listening to a CD complete with liner notes to help guide the way. That era of music making seems to be gone where artists had full…

Will always have a place in my heart for the Gabe Kaplan episode where he runs down Robert Conrad.

"Sam, my patent papers are at a slight angle."

Ha ha…that really bad voice edit about Denby as an attempt to tie the episodes together is really one of the best things ever.

She was great in "Cannonball Run"! Ah, well, I tried.

That's a perfect way to describe it! His worlds, even when they are supernatural, feel natural and part of the everyday. In Raiders, you know that even though all the stuff he has just seen—well, that's just how it is. He will adapt and continue on to his next adventure.

Raiders is still his best film, in my opinion. So many moments of brilliance, pacing, performances. The first real look at Indy when he walks up to the camera, the shot with the idol and the sandbag, the palpable sense of excitement when Indy explains the ark, so many great setpieces as you describe—brilliantly…

Yes, absolutely on the Jimmy Smits NYPD Blue answer. The show was never the same after he left—Sipowicz needed an equal, another Alpha male partner instead of little Ricky and Zach from Saved by the Bell. They did well, but the chemistry was all wrong and the show took an even more soap opera-esque turn after Smits…

Who is going to be playing the Walter Peck role? Are there any good actors/actresses who can ooze as much awesome smugness as William Atherton? "What is…the magic word…Mr. Venkman?"

Hey, good on them for trying to cash in…can't blame them, I suppose. But no one, absolutely no one, is looking on Manos as some sort of lost masterpiece that needs a follow-up, reboot, sequel, prequel, whatever it is. It was MST3K that made it truly iconic. A sequel that is trying to be funny on purpose sounds…

TEN CARS?!?!?!