They recreated the idea which gave The Mods instant credibility when they covered Lennon and McCartney’s \u201cIt’s For You\u201d back in the sixties. This time, they covered another obscure Beatles track titled \u201cL. They found out later that it wasn’t The Beatles at all.<\/p>\r\n
\u201cWe found this song on a Beatles bootleg tape,\u201d Bullock explained, \u201cbut it turned out to be not by the Beatles at all but a really great \u2018parody’ song by Dudley Moore. It was one of the coolest songs The Beatles never wrote.\u201d<\/p>\r\n
The response to the show was enthusiastic and the guys were somewhat elated, but Claudia Wilson saw the other side. Even at the Caravan, decades after the Epic album, the band put enormous pressure on themselves.<\/p>\r\n
\u201cI think Brett was just happy that they’d gotten through it,\u201d she said. \u201cThey wanted to be perfect. They didn’t want anything screwed up. I don’t know that it was obsessive or to that point, but they had very high standards for themselves and when you have those standards and you want to do it live, it takes a lot of work. They always recorded their live gigs and went back and listened and said, okay, what do we need to change. What do we need to do to make it better. When they played Caravan of Dreams, it was like, wow, they still have the chops. Their live sound was as close to studio as they could get it.\u201d<\/p>\r\n
\u201cIt’s the closest thing to time travel I can imagine,\u201d Phil White told Ferman. \u201cWe started in Scott’s garage and I remember every nook and cranny and the smell of it. The word \u2018reunion’ is really thrown around these days, but our fans bring their grandchildren. That’s a reunion.\u201d<\/p>\r\n
In ’98, Space Opera played Dallas at the Sons of Hermann Hall. Before the show, Fraser let the cat out of the bag regarding the playlist.<\/p>\r\n