Richard Furnstein: You are such an unstoppable boner: do you even realize that you left "Slow Down" off of that list?
Robert Bunter: I was clearly only identifying original compositions. Please try to keep up.
Richard Furnstein: Fair enough! The verse chugs along with the gentle staccato of raw skin against corduroy, the only release is provided by a flush Ringo aggressively paddling an open cymbal. It's all tension and release without a proper resolution. Save that sort of massive payload for a single, this is just a b-side.
Robert Bunter: Woah! Back off, man. This track is noteworthy for a dual Lennon-McCartney lead vocal where they're mostly singing in unison. Also, no lead guitar break. The harmonica was hastily overdubbed at the last minute.
Richard Furnstein: I've always been perplexed by the first verse in this song ("Imagine I'm in love with you..."). It's like a logic problem about adolescent love. I drew a little chart and have determined that A can only love C if B imagines he lives on the fourth floor (as previously stated, B must live on the same floor as C, but A and C can not be in love). It makes a lot more sense when you look at my drawing. Wait, what the hell do these lyrics mean?
Robert Bunter: A politically-incorrect McCartney once remarked, "I [also] liked that slightly faggy way we sang: 'Oh yeah, oh yeah' which was very distinctive, very Beatley." This raises (?) interesting questions about the true nature of the singer's oft-repeated intention to "get you in the end." The ambiguous songwriting origins of this track (some sources say it was mostly bi-curious John in the writer's seat, though McCartney has claimed it was a mutual job) do little to quell the controversy that continues to dog this inflammatory debate.