THE 8 BEST COVER VERSIONS BY 

THE BEATLES
("Any old way you choose it...")

By Steve Ludwig

Each of the Beatles' first three albums released in Britain contained 14 songs performed by our beloved boys from Liverpool. On each of these 14-song collections, six were songs written by other performers. Three albums, 18 cover versions. 

The reason for so many covers? I suppose it was a combination of feeling they had to rush-release albums before the "bubble burst," constantly touring, and simply not having written enough original compositions.

But they weren't just "throwaways" sung in order to fill an album's grooves; I can't think of a single song recorded by JPG&R that was a waste of time (and don't tell me "Mr. Moonlight"!!!!).

They sang these songs with such reverence. 

In their live shows, they made sure to give credit to the original artist. Fans might be familiar with the Hollywood Bowl concert album (combining shows there from 1964 and 1965, and released on vinyl in 1977...not available on CD or download, except in bootleg [Beatleg?] form); before introducing Ringo's vocal spot for the song "Boys," Paul said, "By a group called the Shirelles...Just a minute, I'm checking..." John quickly let Paul know he was correct: :"Yeah...Yeah!"

So here's what I'm gonna do. I've chosen my Top Eight cover versions by the Beatles. Why eight? There were around 25 cover versions done by the Beatles on their original released albums, so I figured I'd take a third of those 25. Why a third? STOP ASKING SO MANY QUESTIONS!!

 I've decided not to include their Decca auditions (done mostly in one take) nor any cover song from their Beatles At the BBC album (done live and also in one take). Not that there aren't any worthy candidates from those collections, but I chose from the ones the boys took time with in the studio. They could do multiple takes, make their sound better if they pleased (pleased me).

So, here we go, in reverse order, from Number Eight (days a week) to my Number One choice (and all of these, both the Beatles' versions and the original artists' versions, are easily found on YouTube...but make sure you listen to the studio versions!!):

NUMBER EIGHT: "Honey Don't"

The Beatles loved Carl Perkins. "Matchbox," "Everybody's Trying To Be My Baby," a slew of others by Carl from the BBC sessions...and "Honey Don't." "Honey Don't" was originally released by Carl Perkins in 1956. It was the B-side of "Blue Suede Shoes."

Ringo sings lead on this one, with some nifty lead guitar from George. But what still makes me smile the same way I did when I first heard it back in 1964 is when Ringo leads George into the song's second  guitar solo: "Aaahh, rock on, George, one time for Ringo..."  It may be a Carl Perkins original, but Ringo borrows it for a few minutes and makes it the Beatles' own.

I also really like the way Ringo and his All-Starrs sing it live, picking up the tempo ever so slightly and adding the "bop shoo opp, bop shoo opp" background from Carl's original version.
                                           http://www.youtube.com/watch?v=M9y4jxr1XZg

NUMBER SEVEN: "Long Tall Sally"

The Beatles, especially Paul, also loved Little Richard. When the Beatles met Little Richard on a tour in 1962 in Hamburg, Germany, Paul told his musical idol that "Long Tall Sally" was the first song he ever sang in public. It was in Germany that Richard helped Paul perfect the "whooo!!" falsetto that makes the Fabs' version of "Sally" so memorable.
The original year of release of "Long Tall Sally" was 1956; it was a bonafide hit by Little Richard.
Because they had been singing "Long Tall Sally" since 1957, they nailed it in the studio in one take!
The Beatles' version (Macca on lead vocal) was released in 1964, and it became the closing number of their live shows. However, the "Long Tall Sally" closer was replaced by the Lennon-McCartney rocker, "I'm Down" (which was obviously inspired by "LTS").

At their last-ever concert on August 29, 1966 at San Francisco's Candlestick Park, "I'm Down" was replaced by "Long Tall Sally." While the Beatles hadn't publicly announced that this was their last concert, I have to believe they knew in their Beatle hearts that this would be a fitting way to close the book on their live shows...
                                               http://www.youtube.com/watch?v=pMD0o-sbIlg

NUMBER SIX: "Everybody's Trying To Be My Baby"

Another nod to Carl Perkins, this time with George handling the leads on vocal and guitar. 
Perkins released the song originally in 1957; seven years later it was on a Beatles album.
The technique that was used to produce our Georgie's vocals were, at the time, unique. It's known today as STEED (single tape echo and echo delay), and it was developed by Beatles engineers Geoff Emerick and Ken Scott. In layman's terms (I'm a layman), it's as if George were singing inside a giant tin can.
Even in these early days, it was evident that the Fab Four were looking to turn musical convention on its head.
I also like the false musical ending to the Beatles' version. Just when you think George has strummed that final chord, he repeats the musical ending.
A little side note: Paul's company (MPL Productions) now owns the copyrights to the Carl Perkins song catalogue.
                                             http://www.youtube.com/watch?v=9cvUsvp9oB8

NUMBER FIVE: "Please Mr. Postman"

John's double-tracked vocals and overall exhilirating performance makes this a definite Top Five cover.
The Marvelettes took this song to #1, when it was first released in 1961. (The Carpenters also had a #1 with their version in 1974.) 
But it's the Beatles version, that for me anyway, is the most rockin' and rollin'. From the opening tap on the cymbals by Ringo followed one note later by "Wait! Oh yes wait a minute, Mr. postman," the song never stops its groove. The trademark Beatles background harmonies "oooohhh" their way throughout.
The boys reversed genders in the lyrics for their version.
By the time John pleads, "Deliver thee letter, the sooner the better," we're ready to start it all over and listen again!
                                             http://www.youtube.com/watch?v=9cGOFUy4z_g

NUMBER FOUR: "Rock and Roll Music"

Another musical idol and influence of the Beatles was Chuck Berry. 
George took the lead vocals on "Roll Over Beethoven" and the Beatles sang more than a few of Chuck's songs live on the BBC.
It's somewhat ironic that it took a band from England to introduce American rock 'n' roll pioneers to young America. I was ten years old when I first heard "Rock and Roll Music," and it was on the Beatles '65 album here in America. (It was on Beatles For Sale in England). I had never heard Chuck's original version; heck, I had never even heard of Chuck Berry himself  when I was a fifth-grader!
John's lead vocals on the Fabs' version were much louder than CB's original recording from 1957. While Chuck's were kind of even-paced, John's was downright raucous (as were Lennon's vocals on Larry Williams's "Bad Boy" and "Dizzie Miss Lizzy").
There've been conflicting stories about the piano-playing on "Rock and Roll Music." Some say it was only producer George Martin playing, others say Martin, John and Paul played simultaneously on one piano, and still others claim the three of them played on three separate pianos. Regardless how many were tickling the ivories, the effect worked marvelously. 

"...So keep a-rockin' that piano!!"
                                                 http://www.youtube.com/watch?v=rgOhCmAOuVE
                                                     

NUMBER THREE: "Anna (Go To Him)"

         "I wanted to be able to sing like Arthur Alexander."   - John Lennon

Only five months after Arthur Alexander released his self-penned beauty of a song, "Anna (Go To Him)," the Beatles recorded it.
Even though the parenthetical request is "go to him," both Arthur's original and the Beatles' version say "go with him."
I like Alexander's recording, but I love the Beatles' version. 
John's lead vocals add a tortured pain just not felt in the original. 
John was battling a nasty head cold during the recording session for "Anna," but it only added to its great sound.
 The Beatles weren't THE BEATLES yet on February 11, 1963 when the song was recorded, so they had to brave on with the sessions despite John's illness; they couldn't just come back another day (quite unlike THE BEATLES could after they become the phenomenon they did. After the Beatles became the world's biggest act, EMI Studios [later renamed Abbey Road Studios] worked around the Beatles' schedules).
                                           http://www.youtube.com/watch?v=WVZDeeorBYk

For another great cover of "Anna," check out Humble Pie's version:
                                              http://www.youtube.com/watch?v=5WWd3eTy7l4

NUMBER TWO:  "Twist and Shout"

I know that my friend Joe Potente would probably put "Twist and Shout" as his choice for Number One song covered by the Beatles (and it would be tough to argue with him), but it finds itself right here on my list. (OK, I might give it "1A" status...)
It was written by Phil Medley and Bert Russell, and the great Isley Brothers had a hit with it in 1962. (Actually, the Top Notes recorded it before the Isleys, when the song was called "Shake It Up Baby.")
Just as John's vocals were affected by a head cold while singing "Anna," so was his performance of "Twist and Shout." There's good reason for this; "Anna" and "Twist and Shout" were recorded at the same sessions!
The studio rental time was running out. There were fifteen minutes left and the Beatles would have to be on their ways.
Producer George Martin purposely left "Twist and Shout" as the last song to be sung; John had already told Martin he was not going to hold back when he sang it. And, man, did Lennon let go!
His vocal chords were raw by the time they finished the first take. An attempt at a second take was for naught, as John couldn't sing past the first few lines; his voice was shot. So the version we hear is the first (and only complete) take.
Reports of John coughing up blood afterwards have been disputed. All agree he was drinking milk to coat his throat and sucking on cough drops. When redness appeared in the glass of milk, some in the studio assumed it was blood; but most feel it was simply from the red cough drops.
John said he couldn't speak above a whisper for days after singing "Twist and Shout."
A personal recollection...I remember "Twist and Shout" and its B-side, "There's a Place," were released on the yellow Tollie record label. I can remember thinking as I kept playing "Twist and Shout" over and over again on my record player, "This doesn't sound like John!"

                                                http://www.youtube.com/watch?v=iBWv0Bl3Jdg

NUMBER ONE: "Words of Love"

Buddy Holly (along with his Crickets) was a tremendous influence on the Beatles. 
Aside from the name of the group (Crickets / Beatles), Holly himself and his production techniques showed the young Liverpudlians the possibilities that awaited them.
I assure you the fact that Buddy Holly recorded his original version on my birthday (although three years later) has nothing to do with its Number One position on my list!
It's because of the beautiful Lennon/McCartney harmonies, the wonderful, practically note-for-note-of-the-original lead guitar playing of George Harrison, and Ringo's drumming coupled with his playing of a packing case (to resemble Buddy's original sound of another of his songs, "Everyday,") that puts this song above all the others covered by John, Paul, George, and Ringo.
I was sitting in the upper deck at Yankee Stadium on a sunny summer afternoon, about 45 minutes before game time, more than 25 years ago. The grounds crew was spraying the infield dirt, chalking the foul lines...Over the booming Yankee Stadium speaker system came the Beatles singing "Words of Love." I had never heard it sound  so rich, so beautiful...John and Paul "hmmmm hmmmm, hmmm'ing" through the Bronx air.
It was at that point I decided that "Words of Love" was my all-time favorite cover by the Beatles.

                                                                                                        http://www.youtube.com/watch?v=i5FJ-yNzQxs

What are your choices for best covers by the Beatles?

I'd love to read them in the "Comments" section.

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As always, thanks so much for taking the time to read my blogs!

Good health to you all, Steve Ludwig

  

NED MASSEY'S

"FOUR MESSAGES"

An Appreciation

By Steve Ludwig

There's a big locked door

But you have the key

       

                                                                         -"Visitation Day," Ned Massey

Does God exist? If so, what kinds of signs does He send us to let us know of His existence? Is an insect landing on a windowsill a sign, or is it, simply, an insect landing on a windowsill and nothing more?

Ned Massey, singer/ songwriter/ actor, asks and answers these (and other) questions in his incredible play, FOUR MESSAGES.

Last night, along with my friend Evan Ginzburg, I had the privilege of attending Ned's play at Studio Theater on Theater Row, 410 42nd St., NYC.

I first learned of Ned Massey through Evan. I saw a post by Evan on Facebook about one of Ned's CD's, Bloodties.

I downloaded the album and was immediately hooked. There wasn't a clunker in the bunch. I'm a music lover, and was ashamed of myself; how come I hadn't heard of Ned Massey until only a few months ago? He's been recording for the past thirty years. The late John Hammond, the legendary producer who discovered Bob Dylan and Bruce Springsteen (among others) put Ned on a songwriting par with both Dylan and Bruce. 

Why hadn't I learned of Ned until only recently?

My question was answered by Ned in Four Messages.

An intimate, sixty-seat theater houses the play. We sat in the second row; Ned and his fellow actors and musicians, Sarah Hund and Christopher Sutton, were practically within arm's length while on the stage. What a way to experience a play!

Four Messages is the true story of Ned's life's experiences, thus far. His story is certainly bittersweet (to say the least).

He grew up in a Catholic household, and, although I promise not to give up any spoilers, suffice to say, Ned has questioned & embraced, embraced & questioned God's existence more than a few times throughout his life in music.

He cites four specific moments in his amazing true story in which he received "messages" from God.

Ned sings songs from his music catalog, with an emphasis on songs from Bloodties and A Brief Appearance (which I've listened to twice already today). Both of these CD's were available at the performance. (Before the show began, Ned let all of us in the audience know that the CD's are there, take them if you want, at no cost [wow!!], or you can leave any donation you'd like. Well, I had already downloaded Bloodties, so I anxiously took A Brief Appearance. I figured out what it would have cost me to buy the CD online, added on the shipping, then tacked on an additional five bucks and gladly put my money in the donations bucket. I urge all of you to do the same; please support the independent arts.)

The very cool, albeit spare, scenery is very creative. Clever use of guitars and Polaroid snapshots, a few chairs and a table are it; but that's all that's needed.Ned, Sarah, and Christopher create the rest of the images through Ned's words.

I was really happy to hear that my two favorite songs from Bloodties, "The Car Swerved"  and "In the Park" were included among the play's songs.

The first half of the play featured Ned playing guitar, singing (a breathtaking voice), as well as narrating between songs; Sarah accompanied superbly on violin, and Christopher, equally superb, played the second acoustic guitar. They also sang backup to Ned's lead vocals.

At strategic points in the play (and in his life), Ned speaks directly to God; and yes, he receives His answer.

The second half features Christopher and Sarah, playing the parts of Ned and his wife Kate, while Massey sits effectively and silently, on stage in full view of us. As the characters of Ned and Kate sing and act out Ned's life in heart-wrenching fashion, Massey interjects at key moments. His sad, almost dejected, countenance communicates his life's worth of angst to the point where I could hear audience members sniffling away the tears.

As promised, I won't offer any spoilers here. I hope you'll be able to experience Ned's brilliance just as all of us in last night's audience did. 

If not, treat yourself; purchase Ned's music. Each song offers a personal glimpse into this, at times, tortured, artist's psyche.

I can't wait to see Ned (as well as other artists) in producer Evan Ginzburg's upcoming film, THE STAGE IS MY ALTAR.

In the meantime, listen to Ned Massey's recent interviews on Evan Ginzburg's Legends Radio.net as well as The Rendezvous Radio Show with Cris and Alysia. Search the shows' recent archives to find the interviews.

I'm hoping after FOUR MESSAGES' current run, Ned will continue to present his incredible story at other venues.

You still have time to catch it. It runs through May 4 at its present location: 410 42nd. St., NYC.

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Hey, did you know I survived quintuple open-heart bypass surgery, and I had the nerve to think it was funny?

  Well, it's all in my first book, SEE YOU IN CCU: A LIGHTHEARTED TALE OF MY OPEN-HEART SURGERY.

It's available at www.PlanetLudwig.com

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My brother Tom, aside from being a wiseguy, has a blog also! Together with his buddy since second grade, they debate all things political, sports, and pop culture. It's called Second Grade Minds:

www.secondgrademinds.wordpress.com

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As always, thanks for reading and good health to you all!

   -Steve Ludwig

"LET'S SHUFFLE WIMPY TO THE CHAIR"

From my book,  SEE YOU IN CCU

 A LIGHTHEARTED TALE OF MY OPEN-HEART SURGERY

By Steve Ludwig

The following is from Chapter Nine:

That first night after the procedure was, by far, the haziest, most surreal time of my entire hospital stay.

It was 2:15 early Saturday morning, almost a full day since my operation. It was at that time when two of my nurses lost their minds.

They came to my bed and told me it was time for me to walk from my bed to the recliner chair. Huh? I thought I had a few more months before considering actually moving. And how they were going to accomplish this impossible feat was completely lost on me. I couldn't even blink my eyes without fear of my chest staples popping open, and they want to MOVE MY BODY?

I was sure they had the wrong patient.

Does the doctor know they're going to do this? Who gave the OK? I want to talk to my congressman! Who is my congressman, anyway?

Are these two even real nurses? Maybe they're a couple of those cheese-eating candy stripers they allow to walk around this joint.

When the nurses positioned themselves on each side of my bed, I knew I was doomed. So this is how I'm going to die: trying to move.

That chair had to be two whole feet away! But there was no fighting it now. I didn't have the power to resist.

"OK, sweetie, slide over little by little." They were talking nicely because they knew I was going to die; I was on to their little game.

Me? Slide over? I was scared to breathe too hard, and they wanted me to slide over.

Somehow I did it.

The nurse on my right side gently slid her arm behind my head. Oh, no, what good can possibly come out of this?

"We're going to sit up on three." WE are going to sit up on three?

"One, two, three."

I gave my obligatory "uggghhh" moan. The other nurse swung my legs slowly over the side of the bed.

It suddenly occurred to me that they knew exactly what they were doing. They hadn't lost their minds; I had lost mine.

I relaxed a bit, yet I was pretty sure the step down from the bed to the floor would end my life.

It didn't.

Instead, I was miraculously standing straight up, with each one of these marvelous nurses holding an arm, tenderly yet securely.

"OK, little steps now."

I kind of shuffled two steps, my tubes and intravenous bag following alongside. I sat down in the chair, tentative as ever, positive that everything would splat apart. My nurses placed a blanket over my lap, reclined my chair back a bit, soothing me in the process.

"We'll be right outside." They left, closing the curtain behind them; and there I sat, completely still. Without moving my head, I darted my eyes back up to the clock: 2:25. What a traumatic ten minutes!

Sitting in the chair, I was so afraid I'd hurt myself by moving the wrong way. I was convinced that if I twisted the least bit, my staples would come out, the wires that held my ribcage together would shift apart and become misaligned and heal wrong, my stomach and intestines would spill out and drip into my urine bag. While I was at it, I wondered if my visitors would be able to see that bag of pee. Was it hidden? Who cares? I just had heart surgery!

By the way, some friendly advice if you ever have a hospital stay: Leave your pride in the lobby when you first get there. The quicker you learn not to care what part of your body the nurses see, the more enjoyable the overall experience will be.

Scared to move because of the whole stomach-and-intestines thing, I sat virtually motionless in my recliner for at least an hour. I was perched on a bothersome, wrinkled overturned part of my hospital gown. But I was convinced that this fold on my butt wasn't anywhere as uncomfortable as it would have been if I had moved to fix the wrinkle. That's the type of logic I dealt with in those first few days after my procedure.

I eventually was helped out of the recliner with each nurse again grasping an arm.

"Wait, hold it, OK, hold it, wait, it hurts, wait." I moaned and groaned my way throughout the entire twenty-four-inch journey back to bed.

I had hoped to make my nurses' jobs as easy as possible. Sue, my wife, would come home from her hospital with tales of difficult, uncaring patients; so out of respect for  Sue and all the nurses with whom she shares her profession, I didn't want to be one of those difficult patients. I needed to be a good one.

But I knew it wasn't working. I was doing the best I could, but I felt like such a failure. I was so weak, so dependent on my nurses. Without question, now I was most doubtful of my survival than at any other point leading up to this moment.

When my nurses finally put my dopey butt back into the bed, I lay there and looked at the ceiling.

How was I going to be able to do things on my own, ever, in my life? I'd never get better. 

I couldn't wait to get into a traditional room on the regular cardiac floor where I could have a phone. I missed talking to my dad. Of course, Sue had been updating him all day with calls to his home down the Jersey shore, but I wanted to hear his voice with my own ears. Mom had passed away two years before, but we still had Dad, and I longed to speak with him.

But I couldn't even speak with my own father because of the shape I was in. I didn't want to be here.

Soon enough, I felt that syringe empty its magical liquid into my shoulder; I knew I'd be floating within minutes. The minutes became seconds.

There I found myself again, across the universe, without a care...

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I can't forget my little brother's blog~ He and his buddy since the second grade go back and forth in cyberspace about tons of pop culture topics. 

Check it out at: www.secondgrademinds.wordpress.com.

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As always, thanks to all of you who read my blogs...And thanks for the 17,000-plus page views...Good health to all of you!

Steve Ludwig  

"THE OLD YANKEE STADIUM

VS.

THE NEW YANKEE STADIUM

Which Is Better?"

Part 2

By Steve Ludwig
With Special Guest Blogger,
Joe Potente

When Joe and I talk about the old Yankee Stadium vs. the new, there's a big part of us that is also talking about "Yankee Tradition" within the new Yankee Stadium.

OK, so let's get right to it.

Joe Potente and I, two veteran Yankees fans, say the old Yankee Stadium is better than the new Yankee Stadium. 

They tore down a cathedral and replaced it with a cold, corporate building.

Of course, the Yankees don't have a monopoly on cold, corporate buildings. Pretty much, any professional sports conglomerates that have "upgraded" (notice the quotation marks) their venues are cold and corporate.

But we're not talking about just any professional sports company-- we're talking about  THE NEW YORK YANKEES!! 

Babe Ruth (sorry Red Sox fans), Lou Gehrig, Mickey Mantle, Whitey Ford, Thurman Munson, Derek Jeter, Mariano Rivera...

The new Yankee Stadium is impressive-looking from the outside. And inside, its seats are much more comfortable and it's certainly easier to walk around the Stadium's areas. I especially like the facade encircling the inside:

But for a fan, experiencing a baseball game live is much more than looks and accessibility. And this is where the new Stadium pales in comparison to the old; there is no atmosphere! There's no buzz!! How can this many people not sound loud, even while screaming at the top of their pin-striped lungs?...

I don't know why the acoustics of Yankee Stadium Two stink, but you don't feel the Stadium shake, you don't feel your eardrums ringing after one of those "Yankee moments," like you did in the old Stadium.

The powers-that-be (the Steinbrenner kids) have cow-towed to the bigshots who use a Yankees game to conduct a business meeting, with practically no thought to us true, loyal fans. Hell, they've even created a moated section of seating around the infield, separating the corporate biggies from us other fans-- the soul of the Yankees. And as Joe P. has so clearly pointed out to me, those expensive seats are empty throughout most of the game anyway. Oh sure, they've been paid for; it's just that the butts that are supposed to be sitting in them are usually seated in one of the Stadium restaurants, talking about everything except the Yankee game they're attending. 

I love when I listen to a Yankee game on the radio, and John Sterling or Suzyn Waldman tells me, "Not an empty seat in the Stadium." Except for the 5,000-10,000 that are empty surrounding the infield. (If you've ever wanted to experience two Yankees games at once, watch the same game on TV with the sound down and the radio on. What you're seeing and what you're hearing are often two different things.)

Don't get me wrong, I could sit in those premium seats...for a mere $300 per seat, which is the face-value. And who the heck can get one of those seats at face-value? They've been claimed way in advance. Wanna sit there? Get scalped, my fellow Yankeemaniac! A middle-class family can't afford to sit there! Add to that the $35 to park your car, the Carvel ice cream whose servings are much smaller than in the old Yankee Stadium (and trust me, I know of what I speak when it comes to Carvel ice cream!), the way- overpriced food (although the Lobel steak sandwiches at 15 bucks are delicious...even though the soft rolls they're served on irk Joe Potente), and the souvenirs...

The bleacher seats are certainly affordable; just make sure you don't get stuck with the obstructed-view bleacher seats. Yes, you read right. This new "improved" Yankee Stadium Two has obstructed-view seats! How could they do that? 

I'll tell you how; they don't care about us real fans.
The affordable seats in the upper deck (as well as all the seats in the new Stadium) are so damn far away from the field, unlike the old Stadium. Here's how it looks from the new upper deck:

It's "Yankees tradition" in name only. Tradition Shmadition.

Yankee Stadium Two does, as I mentioned, have some positive points. The bleacher sections do connect to the rest of the Stadium, so you can buy a relatively cheap bleacher seat, and watch the game, standing, in a closer spot in the Stadium.

An important question raised by Joe Potente: Do the rich-seat men's room urinals have modesty panels between them? The upper-deck Yankee Pee Sinks don't! 

Now that pisses us off! But I digress...

Getting in Yankee Stadium Two is oftentimes Gestapo-like. Guys, you'll probably have to raise your shirts before security lets you by them. They want to check out your belly. What happened to equal rights? Let the Yankee lady fans lift their shirts! They can hide Mets water pistols just as easily as we guys can!

There is more of a food selection (Lobel's steak!!) in the new Stadium. However, it took Joe and me more than a few games to get used to the fact that a fan can buy sushi at a Yankees game. Sushi!! At a Yankee game!!...Oh, wait, that's right. The structure of Yankee Tradition came crumbling down along with the destruction of the old Stadium's physical structure.

I like the Yankee Museum in YS2. The autographed baseballs are cool...

 Thurman Munson's locker is on display...

...although if they really cared about carrying the tradition across the street from the old Stadium to the new (as Derek told us they would do after that final game at the old Stadium), they would've have put Captain Thurman's locker, untouched, in the new Yankees locker room as they did in the old locker room.

Here are Derek and the other Yankees, as seen from Joe's and my seats, waving goodbye to us after the last game at the old Stadium....The last night of that TRUE Yankee experience...

Time marches on, I understand, I get it...But let it march on in a "warmer" way, in a more "genuine fan" way...

Last year, I thought I may want to go the Morgan State - Hampton New York Urban League Football Game at Yankee Stadium. I was psyched! Tradition returns, this time to Yankee Stadium Two! So I went online to Yankees.com, ready to order tickets.

Well it turns out that bringing the tradition across the street to the new Stadium was so sincere, that I could only attend the Morgan State game if I bought a ticket to another football game at the Stadium...A game I wasn't interested in! I sent an email to the highers-up of the House That Juice Built, and explained I only wanted to buy  tickets to the Morgan State game. I wrote that I felt it was unfair to be forced to buy a ticket to the other game, that I feel I was being squeezed.

I never got a reply.

It reminds me of what the Giants and Jets fans are forced to do at PSL Stadium in East Rutherford, NJ.

When Joe and I were preparing to get together to discuss what we'd include in this blog (and in Part 1), we thought we'd make a day of it and take a tour of the new Yankee Stadium and then eat at the New York Yankee Steak Restaurant. One look online at what the tour consisted of was enough for Joe to decide NOPE! It's nothing like the tour offered in the old Yankee Stadium. Why, I remember the thrill of sitting in the very spot in the Yankee dugout where Mr. Joe Torre sat during the glory years of his tenure:

All of us Yankee fans LOVE the Yankees with an unmatched passion for other sports teams!!

In Yankee Stadium Two, we almost feel like intruders, that the "Yankee Thing" is now bigger than us, and we're not welcome.

As I stated earlier, for Joe and me (and I'll bet a good many of you Yankee fans reading this), this is not about the players and the on-field activity; it's the guise of what once was a sport which has now become almost exclusively big business.

If all of us didn't bleed pinstripes, would we make seats from the old Yankee Stadium refurbishment of 1973 a part of our home's decor, like the Potentes have?...

My family also owned a pair of these historic seats. When the original Yankee Stadium was being reconstructed after the 1973 season (the Yanks would play the '74 and '75 seasons at Shea Stadium--a sacrilege in itself), the Stadium seats went on sale for TEN DOLLARS APIECE. Fans could actually buy them for $7.50 apiece from Korvette's, if you brought 5 empty Winston cigarette crush-proof boxes with you to the store. My dear mom even switched from Marlboro to Winston for a couple weeks so we could save a few bucks!

Um, my mom switched cigarettes for us. My dad, in his work area in the basement, leaned on one of our historic Yankee seats to saw a piece of wood, and with it, the Yankee seat was partly sawed. An historic event in the Ludwig basement...

If Joe Potente (and yours truly) didn't love the Yankees, would he have this bench from the orignal first set of Yankee Stadium seats as part of his backyard?

With Joe's permission (although Joe assured me I didn't have to ask), I gingerly sat on the bench. I was sitting on a piece of history as important as any you'd find in a museum.

We fans lovingly make the Yankees a part of our homes; they're part of our families; with families come tradition.

Yankee Stadium Two and all it stands for is a cardboard reproduction of what Yankee Tradition used to be.

We love the Yankees...We love the tradition...We want it back in the new Stadium...

Thanks to Joe for his help in writing this and my previous blog. Thanks also to Joe for sharing some of his pictures with me.

And I'll say it again... JOE, IT'S TIME FOR YOU TO START A BLOG!!!

Follow me on Twitter: www.Twitter.com/LudGuy

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IF YOU ENJOYED READING THIS BLOG, WOULD YOU BE SO KIND AS TO CONSIDER BUYING MY FIRST BOOK? IT'S CALLED SEE YOU IN CCU - A LIGHTHEARTED TALE OF MY OPEN-HEART SURGERY. WHY, IT'S FUNNY (SO I'M TOLD).  BUY IT DIRECTLY FROM MY WEBSITE: www.PlanetLudwig.com

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And, oh yeah~ I have a radio show! It's called STEVE LUDWIG'S CLASSIC POP CULTURE. It's fun and groovy! Check it out at www.PlanetLudwig.com.

MY BROTHER TOM ALSO HAVE A BLOG. WON'T YOU CHECK IT OUT? HE AND HIS BUDDY SINCE SECOND GRADE WRITE ABOUT POLITICS, SPORTS, AND ALL THINGS POP CULTURE. IT'S CALLED "SECOND GRADE MINDS," AND IT'S AT www.secondgrademinds.wordpress.com.

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Good health to you all! Steve Ludwig