Beatles Song Anamolies
Post: 13021 of 13095 Xref: theporch rec.music.beatles:13021 From: s913391@minyos.xx.rmit.EDU.AU (Walrus) Newsgroups: rec.music.beatles Subject: Beatles Anomalies (long) Date: 26 Feb 94 10:34:16 GMT Organization: Royal Melbourne Institute of Technology, Melbourne, Australia. Lines: 852 NNTP-Posting-Host: minyos.xx.rmit.edu.au Here is the Beatles anomalies file. I noticed that the Paperback Writer- Frere Jacques one is in it, incidentally. I couldn't find it on disk, but it was at a (the?) Beatles site bobcat.bbn.com... Wal =================================================================== What Goes On Originally Created by Michael Weiss Compiled by Michael Weiss and Michael Brown Version 3.00, October 1st, 1993 ------------------------------------------------------------------- Michael Weiss writes :- In February of 1992, I started to compile a list of various sounds that people find on Beatles recordings. For the most part, they can be categorized in the following manner: 1) Flubbed lyrics/notes/beats/etc. 2) Sounds other than the instruments/vocals/etc., such as squeaks or clicks. 3) Vocal direction, such as counting, or some other means of vocal tagging. This does not include such count-ins as "I Saw Her Standing There," but may well include other count-ins that were not originally intended to be heard by the general public. 4) Mixing errors, such as places where a track was brought up at the wrong time. 5) Vocal comments/jokes/etc. that were not intended for direction. Also included are places where the vocalist is "trying out" a note before the vocal is supposed to come in. 6) Punch-ins and print-through. Punch-ins are where the tape mechanism stops while the record head still writes to the tape (when vocals or instruments are "dropped in" to a track), causing a "fwip" sound. Print-through is where one piece of tape picks up the sound from an adjacent wind of tape on the reel. Usually, print-throughs are noticed in quiet sections that are followed by loud sections. I didn't consider these to be mixing errors, since they're part of the mechanical works rather than the people. Michael Brown writes :- As a regular reader of rec.music.beatles, when I saw the original Anomalies List, I was most pleased that someone else had noticed that there were indeed some strange sounds in the work of the Beatles. Inspired by this I listened to my entire collection of Beatles tracks in an attempt to find more. Now, having a CD player, I am going through the process again with the CD versions, and that extra edge that CD's give sure helps to hear some of these obscure sounds and edits! The results of Michael Weiss's orginal list, my additions, and many from friends and the net in general have been combined into this list. On the 19th of August 1993, Michael Weiss handed over the compilation of the "What Goes On" file to me, with version 2.2. Any additions, modifications, or errors should now be sent to Michael Brown, at any of the following E-mails Preferred: mjb@dcs.warwick.ac.uk Alternate: csulo@csv.warwick.ac.uk Desperate: Michael.Brown@f24.n258.z2.fidonet.org Any contributions gratefully welcomed and acknowledged, especially details of what mixes/media these can and can't be heard on, eg "single only","not on stereo mix", and corrections to timings. Notes on this version of "What Goes On" --------------------------------------- Rather than attempting to categorize the flubs into one of the original 6 categories devised by Michael Weiss, I have ordered all of the flubs for one song together, in chronological order. This makes it easier to take any particular track and go through and hunt out the errors. Also note that all times, unless taken from CD's, are not 100% accurate. Because of this, where possible, I have included some vocal detail etc from the surrounding track. Changes from the last version are marked with a '|' to the left. Quoting from Michael Weiss's list and personal commentary on the original list are marked with '>' ------------------------------------------------------------------- A Day in the Life 1:43 Switch click as orchestra comes in (Right) 1:44-2:16, 3:50-4:19 Mal Evans is heard counting the bars from 1 to 24; only about the first dozen are audible, starting at about three to 12 2:18 An alarm clock sounds to mark the end of the first 24 bars 2:17 Right ear - intake of breath 2:18-2:20 Someone says "One" to mark the downbeat. Quieter, but audible on the CD is the trailing "two three four" (right) 2:42-2:48 Just before and after the words "had a smoke", Lennon starts talking and carrying on, most audibly a loud "hoooo" under the word "smoke" (Right) 2:58 (Left channel) sounds like a cough 4:50-4:52 A chair squeaking (three creaks total) All You Need Is Love 0:23 Plink of a guitar/plectrum (Left) 0:25 (Right channel) someone says "change [something]". It sounds like "change tapes" or something like that. 1:19,1:23 Two edits in the guitar tracks, right ear As to the Paul V John debate, it is without doubt Paul that sings the "Woh Yea" toward the end, much to mellow to be John. The same voice sings "She Loves You Yeah Yeah Yeah, She'd Love To, Yeah Yeah". And I Love Her 1:08-1:17 Loses double tracking 2:10 Someone "Dum Dum Dum's" the guitar line. 2:24 Creak, someone leaning back in a wooden chair? And Your Bird Can Sing 0:02 John/Paul takes deep breath under the cover of the intro. (Right ear) Baby's in Black 1:30 Bad edit, best heard in right channel, in the words "Babys in black". The strummed guitar appears out of nowhere here, further 'enhancing' the edit 1:44 Double tracking error :- John (1) says "And though he'll never come back..." John (2) says "But though she'll never come back..." 2:04 Right ear, at the very end, there is a rattling of paper. Being for the Benefit of Mr Kite 1:44 Someone either punched out or faded out the beginning of the line "Having been some days ..." leaving "...ving been" Birthday 0:40-0:44 Whispering between vocalists. 2:04-2:06 Previous take's "dance" shows through, resulting in Paul ending up singing "Daaaannceee/aaaance" 2:32 Laughter after the drumming stops. Blackbird Right at the very start on the White Album, someone says "play" in a high pitched voice. Come Together 2:30 Talking Day Tripper 1:50, 1:55, 2:32 There are two extremely noticeable dropouts near the end of the song. This is not on any earlier mixes of the same take, so it is quite likely that it happened during the mastering stage. Other mixes show a sound at 1:50 that was likely the reason for the dropout, and John's misplaced "yeah" at 2:32, but one has to wonder if the cure wasn't worse than the illness. This is particularly true in the 2:32 case, since one can STILL hear the "yeah." The drop outs at 1:50,1:55 punch the 1st and 6th notes of the riff clean out. Don't Bother Me 0:03 Someone (George H.?) comments about it being too fast Don't Pass Me By 0:07 Right channel, someone shouts something 1:45 Most strangely, an alarm bell goes off in the middle of "unfair" (Left) 2:31-2:37 Someone (likely Ringo) sings out the beats from one to eight, and then shouts "ooop". At the same time John says (Right channel) "Give it some more!" (Level ? More of the song ?) 2:39 (Left channel) Someone shouts something Eleanor Rigby 0:14 The double tracking is not brought down fast enough after the end of the second "Ahhh, look at all the lonely people" in the introduction. It continues until the second syllable of "Eleanor." The bad mixing of the double tracking continues throughout the rest of the song, every time there is a transition from single to double or vice versa. 1:29 (Left channel) click Everybody's Got Something To Hide Except for Me and My Monkey 1:02 Various shouts (left channel) From Me To You Ringo's bass drum pedal squeaks. (left) Get Back Introduced, at least on Capitol mix, by John's "Sweet Loretta Fart she thought she was a cleaner", "but she was a frying pan". There is also Paul singing "Rosetta...", John's "Great, picks for the fingers" and a quiet 1-2-1234 count in, a "Get In!" and a "Level John!" Outroduced (!) with a policeman (from the "on the roof" session) saying "I'm afraid its just too long", telling them to wind up the gig. Getting Better 0:00-0:02 Someone gives a count in for the vocals. Other talking. 0:28 (Right) Edit in the word "Bett/ter" 0:34 (Right) Someone shouts "Better" under Paul's vocals 0:43-0:44 (Right channel) whistle 0:56 Paul makes a verbal slip, "And you're doing the best that I can" 1:07 Piano and cymbal/hi hat do a "double skip", as if a faulty edit. Doesn't sound intentional. 1:26 Sound (right) Girl 0:59 (Right channel) Someone (John?) coaches "tit tit tit." 1:53 Sound of guitar being put down/picked up ? Good Day Sunshine 0:07 Cymbals come in suddenly, rather than a complete fade-in. 1:26 Someone (John? Ringo?) repeats "she feels good." This appears to trigger something closely approximating a chuckle from Paul in the next line. Listening closely on the CD, it sounds like Ringo saying "She f**ing does". The last word is definitely not "good", very likely "does" 1:33 Bad edit in piano track (right ear) 1:58 Cut to four vocal tracks is abrupt. Good Morning, Good Morning 0:06 "Hah!" (left ear) 0:16 Edit in vocals, made audible by a cut off deep breath. Throughout the song, the right channel contains soft drum beats, ostensibly used to direct the brass instruments. There are also hand claps. 2:33 Where the "Good Morning" vocals fade out,there is an audible click as the vocals/brass stop. Just before this a voice, very quiet, says "Turn it off" (Right ear) Got to Get You Into My Life 0:03 to 0:06 Talking (Paul?) during intro. (Left) 1:44 Strange guitar sound. (Centre) Happiness is a Warm Gun 0:57 The mixers brought up a track too quickly. Originally, John sang the "I need a fix" line twice, but the first was supposed to be left out in the release. The end of the first "down," though, ended up on the master 1:32 High pitched titter from the "female" backing voices. Caught unawares by an early drop in? 2:21 Print-through of the word "Gun". Help The mono version has the intro spliced on. The vocals differ between the mono and stereo mixes. Helter Skelter 0:31, 1:43 Squeaks 0:50 Bottle rattles for about two seconds. 2:29 Paul sings "Yes she is, coming down fast" and then (closer to the mike) "Can you hear me speaking? Whoooo" 2:49- 3:09 Paul sings "Can you hear that silly bugger...Neeee..." then says "Come here son, I saw you do that you little bugger... Get yer bloody hands on your head, c'mon". Hard to hear, again OOPS helps to remove the loud guitar part that masks this. The "blistery shout" seems to be prompted, again it could be printthrough as you hear "hahahaIVE GOT BLISTERS ..." Here Comes the Sun 0:35 George H. hits the guitar body to mark the unplayed beats, a la Help! Here, There and Everywhere 0:10 Edit between intro piece and "here", the tape drops out. (Left) 0:19 Right channel, "changing / my life" have two different sounds to them. Edit between two takes? 1:06 At the end of guitar section, under the word "her", is a fwip. 1:10,1:45 Between the words "everywhere" and "knowing that love..." is an audible 'fwip' of a punch in. (left) Her Majesty 0:03 (left channel) A female, vibrato voice sings a note, or possibly a sped up male voice. Hey Bulldog 1:04 Sharp edit in the guitar track, cutting in after "talk to me" and ending at 1:32 ??:?? Lennon sings "Big Man", and in the left ear Ringo shouts "Yes?" 2:06-3:04 The book "The Beatles Lyrics" has the words wrong to the ending. Most interesting, they don't include the John/Paul dialogue :- P) "Do you know any more?" J) "Wowowowwwaaaaa" J) Screams loudly P) "You got it, great, you hit it, that's it man, Woop!, that's it you got it" J) Screams hysterically P) "Don't look at me man, I already have [ten children | grandchildren]" P) "Clap man, clap" J) "Okay" P) "Clap!" Hey Jude The Lewisohn reference to an "undeleted expletive" :- John gets the vocals line in a muddle, crossing the first and second verse vocals to form :- Paul: Remember to let her under your skin John: Remember to let her into your skin In anger, the next line then becomes Paul: Then you beeeegiin to make it better John: Ohhhhh F**king Hell to make it better I Feel Fine Capitol remix opens with drumstick clicks, and John saying "It's not enough" 0:06 Cough (left ear). 0:12-0:14 Snares on the drum kit resonate to the sound of the guitar amps, before the drums come in If I Fell 1:45 I wasn't sure if I should consider this to be in the list, but it's been brought to my attention several times, so here it is. Paul's voice cracks on the word "vain." Mono version eliminates this by editing in a chorus from earlier in the song. I'll Get You 1:13 John sings "Well, there's gonna be a time when I'm gonna make you mine." Paul sings "Well, there's gonna be a time when I'll make you change your mind" I'm looking through you 0:04 Paul tries out the song "Where did you go, Where did you go" 1:41-1:42 Two clicks (centre) I'm so tired 1:05 Under the word "so" in "I'm so tired" there is a strange vocal/instrument sound. I Should Have Known Better 0:06 Harmonica drops out for a bit. Sounds to me more like running out of breath than bad mixing. (Not on MONO CD version) 2:01 Double Tracking lost here 2:17 Bad edit between "love me to-oo-o, oh../And when I" 2:20 Double Tracking regained, on the words "mine, ah-ha-hine" I Wanna hold your hand 1:22 John, as ever, forgets the vocals, and adlibs "balum-a-lumba Haaand" I Want You (She's So Heavy) 3:39 (Center) click/edit? 4:28 Distortion in John's yell, prompting someone in the control room to yell at him 4:32 (Left channel) "Quiet down!" This is likely due to the distortion at 4:28 I will Starts with a click. Maybe Ringo tapped out the count in, and it couldn't be trimmed without cutting into the "Who" at the start of the song. Julia 0:14 John is a bit late coming in on the "Julia" line. Is this him, or was it a mixing error? Let It Be 1:07 After the words "For though they may be parted," there is a whisper that I cannot make out on the right channel. Single version only. Long Long Long 2:31-2:56 A bottle rattles on one of the speakers. Sounds like a coin being spun on a table Lovely Rita 0:21,0:23 John sings as an aside "Aah, Paul" under the main lyric 0:33 In the right ear, after "your heart awaaay" "Standing..." 2:11 Edit in tape/click to join on the ending (Left) 2:38 Ringo shouts "You'd better believe it" or "They'll never believe it" in the very final moments of the song. Lucy in the Sky With Diamonds 0:13 Left, click 0:45 Cough ? 0:50 Guitar breaks through on right channel just before the "Lucy .." 1:32 John sings "grows so incredibly high", and a much delayed "igh" is heard Was this from a previous take? 1:53-1:56 Lead guitar drops out (Right) 2:34 Paul sings harmony on the "Lu" syllable in "Lucy"; he was supposed to sing in tandem with John, and corrects himself by the second syllable. I do not think that it is John singing here at all. It is actually Paul double tracking himself. John sings the "Aaahhh" at the end of the phrase. The matching of the two voices is too perfect to be John/Paul 3:08 Printthrough of "Aaah" audible on right channel Martha My Dear 1:01 Strange overlap of the words "Take a good", maybe overlap of two takes or an on the fly editing job. Sounds like an "Elvis" style echo! Maxwells Silver Hammer During the line "Writing fifty times I must not be so" Paul laughs. I think someone in the background is distracting him. Michelle 3:28 Left ear - cough No Reply 0:13 Between "your window" and "I saw the light" there is a cough and some speech (Right channel) 0:33-0:34 Loss of tape reverb on the words "telephone" to "were no home" Ob-La-Di Ob-La-Da 0:02 Paul says "remember to step it up, John," then coughs, then hums a few notes to hit it right. Best heard when this track is OOPS'd. Laughter and joking by the other Beatles too. 0:10 Clap to mark the start of vocal track. ???:??? In the words "Life goes on, bra / La la how the" there is a vocal punch in, marked by an audible tweet just after. This is a by-product of the two separate erasing operations, causing an audible sound. 1:08, 1:17 Three clicks at each of the two points 1:18 John says "home", in referrence to the following line. 1:42 After the line "lets the children lend a hand", the first time George says "arm", John says "leg" 2:13 John says and spells out "home" at 2:13. 2:33 After the line "lets the children lend a hand", the second time John says "foot". Oh Darling 2:48 Repeat of the end of the word "Darling" Paperback Writer 0:57 (Right channel) sounds like a cough and tambourine rattle 1:20 Somebody manages to forget to come in with the harmony until literally one second too late on the "Frere Jacques." (Right channel) Likely John. 1:45 Right channel again, someone clears his throat, and then a couple of quiet tries at the correct notes before singing "Paperback Writer." Piggies 1:53 Print-through of "One more time" Please Please Me 1:27 John sings "Why do you never even try, girl?" Paul sings "I know you never even try, girl." John, apparently realizing his mistake, chuckles out his next "come on." Stereo Version only. Polythene Pam 0:41 (Left channel) Someone yells "Yeah!" 0:45 (Right channel) Someone picks up the maraca. 0:55-1:04 (Left channel) Counting measures from 4 to 7. This sounds like the same voice as at 0:41. Revolution Number 1 Most certainly not "Take 18" punched into the tape (Lewisohn). Sounds much more likely to be "aah, Take Two". Revolution Number 9 Lewisohn, and other lyrics books show the lyrics as "Brother can you take me back ...". It sounds more like "Robert, can you take me ..." Also the mixer used to mix this track has a "scratchy" pan control. You can hear this 53 to 58 seconds after the first piano note and at 1:27 to 1:46 after. Rock and Roll Music 2:19 John sings "oughta got rock and roll music" instead of "gotta be..." Savoy Truffle After "You'll have to have them all pulled out" and before "You might not" there are assorted purring and cooing noises in the left channel Sgt Pepper's Lonely Hearts Club Band 0:09-0:10 "Roll over boys / Roll over Maurice", heavily reverbed, just before vocals start. 0:26 Drum beat under the word "play" is cut short, possible edit? 1:46 Left channel, the clapping fades down and straight back up. I think this may have been because there was not enough clapping to fill the space required Sgt Pepper's Lonely Hearts Club Band (Repriese) In the introduction, John says "Look up, Byeee". An increase in hum is heard just before this as the faders open. 1:15-1:17 After Paul's "Wooo", John says "Paul, hold my guitar for me". Heard using OOPS. She Loves You 1:23-1:30 Bad edit right after the line "I think it's only fair"...even the cymbals sound different. The drop in ends after the line "Because she loves you". Not audible in Capitol Remix. 1:43 to end Bad edit, this may only be in the Capitol "Beatles 1962-1966" Album The harmonica goes out of time, and the vocals suddenly double track (Left ear) She Said She Said 1:37 "What I've Said" [I want the ...] "I said no no ..." (Right) She's a Woman 1:25 Rhythm guitar drops out for one beat She's leaving home 0:13-0:14 Deep breath from Paul 1:24,1:28,1:29:2:45 Switches being operated? Slow Down 1:15 One sings "Now you've got a boyfriend down the street". Another sings "girlfriend," and seems to stumble over the "down the street" part. Strawberry Fields Forever 0:59 Perhaps the most famous Beatles edit ever. In fact, it is actually two edits. The famous one is between take 7 and take 26. Take 7 was slower and a semitone lower in key. The two were edited together right between the words "'cause I'm" and "going to". The less known edit occurs right before the words "Let me take you down". It's also less noticeable. The edit can be heard clearly by listening to the drums and mellotron on the left. The drums go very dead, and the mellotron stops. At the same time on the right, the orchestra appears from nowhere. 1:17, 2:01 Counting from one to four 3:27- 4:05 Left channel, lots of talking, sounds like directions of sorts. 3:57, 4:03 John mutters the famous "Cranberry Sauce" twice, followed by "My mother made it for me." Paul is dead fanatics insist that what John really says is "I Buried Paul," but that somehow doesn't go with "My mother made it for me." Note that "My mother..." cannot be heard on any released version. Can someone enlighten me as to where it *can* be heard?? The song fades out in all cases before the end of the second "Cranberry Sauce." The German release of Magical Mystery Tour fades out later than other releases (and so, therefore, does the CD), but still too soon to hear the "My mother..." statement. Listen to the bootleg versions, they carry both "cranberrys" plus lots of shouting from John to Ringo, "What are you playing it","Alright Calm down ringo" Frank Daniels is sure that he hears "I'm very hoarse" instead of the claimed "Cranberry Sauce" (German Version). He also mentions the morse code, supposedly "J.L.". Can any "morse-proficient" person check this, as I feel this is incorrect (Like the cover to Help, which doesn't say "Help" in semaphore!) Taxman 0:03 Left channel, "One for you 19 for me 1-2-3-4" 0:35-0:37,0:42-0:44 Right channel drops out 1:38,1:45 "Ah ah Mr Wilson/Heath" dropped into lead guitar track (!) with audible clicks Tell me what you see Paul tries out the initial line "If you let, If you let" before the song starts proper. Also the hissing of a revolving Lesley can be heard. Tell me why 1:42 Edit, or dropout, between "so in love with you/Tell me why". The level seems to drop sharply, and come in a little late ... The Continuing Story of Bungalow Bill 0:14 After the line "what did you kill..." Ringo says "I'll tell you" 0:35, 1:12, 1:49 Punch- ins at the end of each guitar/banjo bridge, before the chorus. 3:04 Print-through of the "Eh-up". Possibly prompting from another Beatle? The End 0:28 Someone counts "6," counting the measures of the drum solo. The Word The harmonies for this are "flown in" from a separate tape. Listen carefully and you will hear "Say the ..." and then the "wwwwooordd" slews up to speed. This Boy 1:27 Bad edit right after the line "'Till he's seen you cryyy" in the chorus. Tomorrow Never Knows 0:52 ADT drops out early, leaving "It is being, It is" in the right ear. At the same moment the organ sound stops. 1:28 Feedback from Leslie speaker. (Right, during "Love is all and love is") Twist 'n' Shout 1:25 Careful study of Paul's first "aaah" will show that half way through the pitch flattens slightly. This is possibly an edit between two takes. Audible on the Please Please Me CD, and maybe others? What Goes On 1:11 (Left channel) someone says something 1:35-1:54 especially loud at 1:46-1:53 Ringo hums the melody during the middle eight. This left Joe Brennan wondering how many songs Ringo hummed during, though without a mic. 1:28 (Left channel) John says "TELL me why." It's possible that John says "I already TOLD you why;" if so, "I already" is too faint to hear, but the inflection is too unclear for me to state it conclusively. 2:36-2:40 Ringo sings "in your mind" twice at the end of the song. When I'm Sixty-Four 0:38-0:42 Bass Pedal can be heard to squeak 1:04, 2:00 Paul sings "um um" along with the other instruments, emphasizing the beat. 1:55 Faint piano notes 2:28 Edit in vocals track, "When I'm sixty four/ye Hoo!" 2:37 Faint whistle at the end of the track. Why Don't We Do It In The Road 0:01 Squeak during drum intro. 0:17, 0:27 Someone (Ringo?) says "yeah" With a little help from my friends 0:00-0:02 Centre, loud tweets during the word "Billy" 0:08 Noticeable increase in mains hum as the fader opens for Ringo's vocal (Right channel) 2:04 Right channel, crackles in bass line (bad lead/connector?) 2:29 Ringo admits that he wasn't confident about that high note at the end. Here you can hear an edit to join on a successful attempt at the last phrase, beginning with the words "Ye/es I get by with-a- little-help-from my friends with-a-little ..." Within You Without You 3:41-3:47 George is singing along as (he?) plays the drum part, with an audible "Da da da da, two .. We were" Words of Love 0:59-1:04 Possible edit or drop-in in guitar track (Left channel). Ringo's bass drum squeaks through this one, too. (Left channel) Yellow Submarine 1:04 "And the band begins to play" ... They certainly do, but one of the trumpeters decides to put in a little trill ahead of cue! 1:51 The backing vocals come in a line and a half late in verse 3 Yer Blues 1:05-1:08, 1:20, 1:26, 1:49 Feedback 1:31-1:40, 2:00- 2:07 Someone shouts out lyrics behind John's singing 2:25-2:27 (Left channel) yells 2:29-3:16 (Left channel) faint guitar 3:16 The supposed "instrumental" verse at the end has some bleedover from the vocals of another track. This segment was spliced in from another take, according to Lewisohn. The edit can be heard in a clipped guitar note. Yesterday 0:19 During the word "believe" there is a squeak, sounds like from a violin string. (Left channel) You Like Me Too Much 0:00-0:08 Scratching sound of the Leslie speaker revolving 0:08 Click of the Leslie speaker turning off You Never Give Me Your Money 0:14 Piano notes 0:29 Breath is taken 3:08 Someone picks up a tambourine 3:46-3:56 Talking and guitar playing You Won't See Me 0:02 Cough ------------------------------------------------------------------- I'm sure there are many others. If you happen to hear any, let me know! Michael Brown (mjb@dcs.warwick.ac.uk) Thanks to those who contributed to this list: Matthew Rupert Bill W at Uni. of Pittsburgh Gene Schroeder Robert Berry Jay Smith Greg O'Rear Frank Daniels Steve Barclay Michael Lane Andrew Walker Special thanks to: Saki Joe Brennan Andy Van Pelt And now, a word from our legal department: Copyright (c) 1993, Michael Brown, all rights reserved except the following: This document may be reproduced in part or in full, by any means, provided the first lines up to and excluding the line beginning "Category 1," and the last lines beginning with and including the line beginning "I'm sure there are many others," including this copyright notice, are all included. Any reproduction that is not a complete document must be labeled as such before distribution. Any changes made to the document must be labeled as portions exclusive of this document in a fashion so as to make clear that the author of those portions is NOT the author of this document, and/or must be approved as a written revision from the author of this document. No monetary compensation, short of cost of materials and distribution, may be charged for any means of distribution. -- ------------------------------------------------------------------- "I am he as you are he as you | The Walrus are me and we are all together" | s913391@minyos.xx.rmit.oz.au -------------------------------------------------------------------
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