[laughs]

I'm coming through.

Um, what can they do? And are you a rare commodity? Like, how rare is it to have a real estate agent who actually knows? I was actually thinking about that on the way up here.

I personally don't know any other realtor that has ... trades background.

Now, maybe not everyone is soliciting themselves of that.

I think it's a positive for me.

But personally, I've actually never met anyone that's like, "Hey, I was, you know, a contractor coming from the trades."

Mm-hmm.

[laughs]

[laughs] Um, yeah, it's, I'd say it's a, uh, that's an eight for me.

Because for me, I find, like especially in the context of this album, there are a couple songs that I'm looking forward to hearing specifically.

There's usually two or three of them that I'm like, "Okay, I can't wait till I get to this song." Anna's one of them on this album.

Uh, you know, There's A Place is another one.

Uh, Baby It's You.

Those stickers look great.

Thanks.

He's-

I, I, I would, not be against, but not for.

Can I still speak on the, on the-

State your name and address, please.

James Collier, 11814 Nathans Hill Lane.

I've lived, uh, at Nathans Hill Lane for, uh, since 1991.

Um, we were just a couple, couple doors away.

So I'm, I'm not here, I don't wanna be the person to say I don't like it, I don't want it.

For our listeners that weren't lucky enough to catch this talk, could you give us, like, a good background on your, I guess, your thesis statement for that presentation?

presentation?Yeah.

I mean, it was essentially talking about the huge jump that McCartney took as a bass player between the Help! album and the next album, Rubber Soul.

And prior to Rubber Soul, he was a solid bass player.

He was a really good bass player, but he was a really traditional bass player.

He wasn't breaking new ground.

He was playing the kinda stuff that bass players had always played.

But, but yeah, like, you look at some photos from back then, especially these high-resolution scans that have been making their way out these days, and you see, like, you know, on any given day, the action on his first two Hofners sometimes were a quarter to a third of an inch off of the fretboard.