SCRAPPING WORDS

In this era of pop music dominated by the weepy, sulking, suicidal and otherwise desultory adolescent utterances of spoiled poseurs, it is delightful to have a behind-the-scenes look at one of the most effervescent and joyous chapters in popular music history--the Beatles’ studio work, from 1965-68.

“The Beatles Anthology 2” affords an invaluable look at this remarkable quartet’s creative processes. Naturally, your Robert Hilburn, in his unending effort to appear on the cusp of things young and trendy (this is, after all, the critic who referred to Ice Cube’s terrifying “didn’t even have to use my AK” lyric as warm and tender), knocks “Anthology 2” as “table scraps” (Record Rack, March 17).

Scraps? I dare say that a Beatles’ outtake such as “Tomorrow Never Knows” or “A Day in the Life” remains of greater significance in the history of pop music than anything by, say, Alanis Morissette--she who sings of such profound matters as oral sex in movie theaters.

B.C. KATZ

Los Angeles

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When Hilburn writes that the versions of these songs found on the original albums are superior, he states the obvious. The Beatles knew what takes were best; that impeccable taste and talent led to their changing the course of popular music.

Revered fine artists have major retrospectives centered around early works and sketches. Alternate takes from jazz artists are treated like nectar from the gods. If Hilburn was more concerned about putting rock music into historic perspective, instead of championing the marginal talents of the newest flavor of the month, he would understand the importance of the glimpse into the creative process the Beatles anthologies afford us.

RICHARD LENTI

Van Nuys

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If these are “table scraps,” then they are from the most sumptuous and important feast in the history of modern popular music. Would a classical music critic refer to a cache of discarded Beethoven sketches or early versions of his sonatas and symphonies as “table scraps”? I don’t think so.

JAMES E. MAXWELL

Thousand Oaks

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Apparently Hilburn’s copy didn’t contain the mind-blowing version of “Tomorrow Never Knows.” I suggest he return his copy for the complete Beatle happy meal that’s on my turntable and stop nit-picking at his food.

MORLEY BARTNOF

Los Angeles