Holy Bee of Ephesus

Dateline: Davis, CA. COVID-19 “shelter-in-place” quarantine, March 18 through…?, 2020

A patched-together overview of some of my Spotify artists’ playlists in roughly alphabetical order…

It was some time around the tail-end of the holidays, 1995. We (that is myself, WH, and our mutual friend Allen) were on one of our many record shopping excursions in Sacramento. Our route always began out in suburbia with Tower Records on Watt Avenue, then we worked our way into the city center by way of The Beat on J Street, and we usually ended up on K Street in the heart of downtown. Like many hearts of many downtowns, Sacramento’s K Street has faced the usual challenges of street crime and homelessness. It may have been at its lowest point on that cold, gray day as ‘95 changed over to ‘96. Someone in an army overcoat was loudly telling sinners to repent on the corner of 7th and K, and the scent of fortified wine and urine was in the air as we walked by huddled, sleeping figures, and slipped through the seedy doorway of 708 K Street. A former saloon, the address still boasted a flophouse hotel on its upper floors.

But its ground floor was home to K Street Records, one of the most gloriously disorganized and haphazard retail establishments I have ever had the pleasure to peruse. Stacks of vinyl lined the walls with no rhyme or reason, and even the supposedly alphabetized bins of CDs were a crapshoot. To make up for it, a very friendly mottle-coated cat offered an almost deafening purr in exchange for an ear-scratch, which may have been the best deal in the place. Nick Cave was playing on the store’s sound system that day.

Even more stock was available down in the basement, but I don’t recall ever going down there. It may have been closed to the public entirely at that point. Local legend states the basement of K Street Records was haunted by the spirit of a lady (“Gertrude,” I’m told) in a Victorian dress who could be a tad hostile. The establishment is also semi-famous for being on the cover of DJ Shadow’s breakthrough sample-fest Endtroducing…, a photograph taken not long after this day’s visit. One has to assume a lot of the vintage vinyl that comprised the Davis native’s debut album came from K Street. 

We didn’t find anything at K Street Records, so we moved on down the block to another Tower Records. The K Street Tower Records was the venerable chain’s third Sacramento location (after the Watt Avenue and Broadway stores, both dating from the ‘60s), which opened in 1973. The entryway was decorated with a massive, funky, very ‘73 mural.

We weren’t there long before WH waved me over. “Come here.”

I did so.

“Hold out your hand.”

I did so.

He dropped two brand-new, shrink-wrapped CDs into my open palm.

“Buy these today. Thank me tomorrow.”

That’s how I came to buy Oasis’ 1994 debut Definitely Maybe and their new release (What’s The Story) Morning Glory. And WH was right. I had no regrets. Oasis rocketed to the top of My Favorite Bands list before Definitely Maybe was halfway over. (My other purchase from that day, Southern Culture on the Skids’ Dirt Track Date, ended up getting sold off within a few months.)

Oasis’ formula was simple: Build a song solely around its best parts — the big riff and the catchy chorus — and repeat them as loud as you can. It’s really not much different from AC/DC’s approach, but Oasis added just a splash of Beatles/Kinks melodicism. I derived immeasurable joy out of those first two Oasis albums. My white Dodge Colt (with the black left front fender) soon boasted an Oasis sticker in the back window. They were all I wanted to listen to in the first few months of ‘96 (well, them and Tom Waits, and the Pogues — see below — but I was never able to find a good Pogues sticker for the car).

[Sacramento’s K Street has been undergoing renovation and renewal for several years now, aided by the development of the adjacent Golden 1 Center basketball arena. The old K Street Records building now houses the stationary bike gym All City Riders. The Tower Records mural has been painstakingly restored, and the space is now occupied by Solomon’s Deli, named after Tower Records founder Russ Solomon. Unfortunately, the pandemic shut-down has hit K Street businesses pretty hard.]

The “Britpop Wars” broke out around this time. It was Oasis (simple, working-class) versus Blur (nuanced, middle-class). It was the noisy pub versus the quiet university common room, and each band’s fanbase was very opinionated. Naturally, I was in the Oasis camp, and had many spirited debates at the local coffee shop with the snobbish and pretentious Blur crowd. In retrospect, Oasis and Blur weren’t really all that different. 

The true polar opposite to Oasis — musically, philosophically — is Radiohead. 

I am dedicating the next portion of these Chronicles to a band that will probably not be getting a playlist. For a little over fifteen years now, I have declared Radiohead to be absolutely, without a doubt, the most overrated band in popular music history. But it’s been awhile since I voluntarily listened to them. Now it’s time to see if I need to eat my words. I have announced to certain members of the Idle Time collective, who never fail to quiver like jelly and sigh in ecstasy whenever Radiohead’s name is mentioned, that I would use some of my quarantine time this past summer to clear my mind of prejudices and preconceived notions, and listen to each and every album in the Radiohead catalog as if I’m hearing them for the first time (which, in the case of their last two albums, is literally true). 

Here we go.

Pablo Honey (1993) 

Radiohead’s debut album is the one most likely to be dismissed as sub-par (especially by the band themselves). I thought it was pretty good, although the oppressive sulkiness of the lyrics precludes me from saying I “enjoyed” it. The production team of Paul Kolderie and Sean Slade were chosen for their work with the Pixies and Dinosaur Jr. and it shows. The quiet/loud/quiet dynamic of the Pixies (also used by Nirvana to great effect) and guitar crunch of Dinosaur Jr. are the dominant modes of Pablo Honey. The band were still clearly wearing their early influences on their sleeve. In addition to the aforementioned acts, there is a very healthy dose of early U2 all over the place, particularly in Thom Yorke’s Bono-channeling vocal gymnastics.

Ironically, as later releases would downplay the dominance of the six-stringed instrument, Pablo Honey may be one of the best “guitar albums” of the 1990s. Clear, ringing chords and arpeggios reminiscent of the Smiths or XTC are neatly interwoven with the fuzzed-out distortion of grunge — causing the album to be (unfairly, in my opinion) lumped in with the many other grunge knock-offs in the post-Nirvana world of 1992-93. (Remember, early Radiohead weren’t copying Nirvana, they were copying the bands Nirvana copied. There’s a difference.) What sets Pablo Honey apart from the more pedestrian knock-offs were the little sonic surprises that littered the first half, such as the stately piano that wanders into the last few seconds of “Creep,” the massive hit single that made the band instant stars and MTV darlings, and the song the band has worn like a millstone around their necks ever since.

Pablo Honey’s music itself is often quite sprightly, even though the lyrics wallow in alienation and self-pity, always warning the perpetrators of their torment that some kind of personal or spiritual retribution is coming. At times they sound like Material Issue’s depressed, vindictive British cousins. The album does suffer from second-half fatigue. (Certainly not the only album guilty of this — many artists and their production teams beginning in the CD era felt it was best to front-load albums with the strongest stuff to keep short attention spans from punching the skip button too early.) As the album winds down, it gives us a run of mid-tempo odes to self-loathing that blend into each other with little to distinguish them. The closer, “Blow Out,” has a nice, hushed urgency, and reminds me a little of Television. Overall verdict: A solid, but at times gloomy and derivative, debut with a great guitar sound that elevates it slightly above its post-grunge peers. 

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Dateline: Davis, CA. COVID-19 “shelter-in-place” quarantine, March 18 through…?, 2020.

Exploring just a few of my Spotify playlists in roughly alphabetical order.

(Despite these Chronicles being based around the concept of online streaming of music, I’m starting to notice them developing into a love letter to the CD era.)

File under Still Making New Discoveries of Old Stuff…the Hollies. 

If there’s one website that is more rambling, disjointed, and long-winded than this one, it’s Alan’s Album Archives. (“If A Review Doesn’t Reach 7,000 Words, We’re Disappointed.”) He has even spun it into a little cottage industry, self-publishing $7 e-books that collect all his reviews and essays on a particular artist. For the most part, his tastes run parallel to mine (and when we diverge, we widely diverge), so I happily bought a few to support a fellow enthusiast. I don’t think even Alan himself would deny he needs an editor for simple fact-checking. He mishears lyrics (sometimes to hilarious effect), struggles with understanding American vernacular (not his fault, he’s a Brit), mixes up names and timelines with annoying frequency, and I know he knows better. His stuff is just so long even he doesn’t want to go back and read it a second time. His Beatles book is a non-stop litany of glaring factual errors. In fact, Kindle tells me I’ve only made it 42% through it. I keep trying, I make it through a couple of pages, then come across another howler and have to slam it shut again. And he doesn’t seem sure what a pedal steel guitar actually is. (No, that’s not a “pedal steel” on “I Need You,” it’s Harrison playing his 12-string Rickenbacker with a volume-swell pedal*. I mean, come on, Alan…)

In both Alan’s Beatles and Stones books, he mentions the Hollies on every few pages in the same breath as the two great titans of British rock…as if they were somehow equal or something. (“If not the greatest band of the 1960s then arguably the most consistently great band of the 1960s” made me blurt-laugh out loud, not only for its hyperbole, but for its weird semi-redundancy.) Were they actually comparable?

Short answer: Not even close. Long answer…read on.

The Hollies consisted of Graham Nash (rhythm guitar, vocals), Allan Clarke (vocals, harmonica), Tony Hicks (lead guitar, vocals), Eric Haydock (bass), and Bobby Elliott (drums). Bernie Calvert replaced Haydock on bass in mid-1966. All were very good instrumentalists — Hicks was a particularly nimble lead guitarist for the early 60s beat-group era (I love almost all of his solos, even if the song itself is a dog), Haydock pioneered the use of the six-string bass, and Elliott’s tumbling fills kicked pretty damn hard. The three vocalists were each capable of taking the lead (Clarke’s soulful, mid-range voice most often), but harmonies were their trademark. 

The Hollies shared a label (Parlophone) and a studio (Abbey Road) with the Beatles. Beatles producer George Martin’s assistant, Ron Richards, was the Hollies’ long-time producer. Richards had a good ear, a solid technical background, and worked hard to present the Hollies as best he knew how. But he was not a musician as Martin was, and he was not a boundary-pusher. 

Maybe due to this too-close-for-comfort proximity, the Beatles themselves never cared much for the Hollies — Lennon in particular thought they were saccharine and twee (the Beatles would never stoop to doing a song as stupefyingly cringe-worthy as “Fifi the Flea”), and copied the Beatles’ three-part harmonies a little too slavishly. Harrison said they were “all right musically” (meaning they were skilled players, which they were), but “did their recordings like session men who’ve just got together in a studio without ever seeing each other before.” A little harsh, but yes, there was sometimes a lack of cohesion. And he called their cover of his “If I Needed Someone” “soul-less.” Which it sort of was, but give them credit for the audacity of recording a Beatles song before the original was released (presumably Ron Richards got them an advance copy of the song to work from, and at least two Hollies were under the very mistaken impression that Harrison had written it specifically for them). 

Instead of blazing their own trail, the Hollies seem preoccupied with giving listeners what they think they would want, which is admirable in a way, but not a Path to Greatness. It’s ironic that their second album was called In the Hollies Style, because the Hollies had no discernible style for most of the Sixties, and spent the decade casting around — at times desperately — for a unique voice. 

Like most early British Invasion bands, the first couple of Hollies albums were filled with watered-down, very Anglicized R&B covers, but they certainly didn’t lack for energy. By the time of their third album, original compositions began sneaking in, which was good news. The bad news was that a lot of their early originals weren’t all that good, making their albums very patchy indeed.

The Hollies were irrevocably a singles band. And they were great singles. From their third single (a raucous cover of Maurice Williams & The Zodiacs’ “Stay”) in late ‘63 through to “Listen To Me” at the end of ‘68, the Hollies ripped through nuggets of 45 rpm ear candy at a rate of about three per year, including two of the Holy Bee’s all-time favorites — “Bus Stop” and “Carrie Anne.” And most of the B-sides were just as good as the As. To be fair, until Tommy, the mighty Who were “just” a singles band too.

They never really took off in the U.S. at that time, except for the Top 5 “Bus Stop” in the summer of ‘66. Just when things were starting to get interesting (their two 1967 albums, Evolution and Butterfly, are quite good forays into lightweight psychedelia), just when their original songwriting was coming into focus — co-founder and band visionary Graham Nash quit, bored by the band’s old-fashioned traditionalist attitude, and turned off by their showbizzy audience pandering. (The first album after he left was The Hollies Sing Dylan.) He moved out to California and became part of the three-headed ego monster known as Crosby, Stills & Nash, who would stop squabbling every seven or eight years to bore us with another Laurel Canyon soft-rock yawnfest.

The Hollies soldiered on (with former Swinging Blue Jean Terry Sylvester in Nash’s place), and finally found American success with syrupy, mawkish ballads like “He Ain’t Heavy, He’s My Brother,” and “The Air That I Breathe.” Their highest-charting U.S. single was “Long, Cool Woman in a Black Dress,” such a blatant rip-off of Creedence Clearwater Revival that many people to this day don’t know that it’s not actually CCR yammering about “working for the FBI” with “whiskey bottles piling high” over swamp-rock guitar licks. (Credit to Clarke and Hicks for combining to form a single John Fogerty with a fair degree of accuracy.) 

So…no, the Hollies could not match the flat-out genius of the Beatles, nor the dark, menacing magnetism of the Stones, nor even the fractured, intermittent brilliance of the Kinks. But in exploring these questions, I grew to like the Hollies much more than I thought I would, and ended up giving them a playlist — but only through the Nash years. If I never hear “The Air That I Breathe” again, it will be too soon.

When I was doing my old iPod playlists a decade ago, I learned a valuable lesson about two important artists: I don’t need any more Billy Joel or Elton John than what is available on a good, solid, well-compiled two-disc best-of. The gold standard of that format were the “Essential” sets. Remember those? Sony used to do ‘em back in the CD era, and any major artist who is or has been on a Sony-owned label — which is about a third of them (Columbia, RCA, Epic, Legend, several more) — have one. Almost all of them were double discs, and I always thought they were very thoughtfully put together.

Many will argue, but I did not find a lot of unheralded gems buried in John’s or Joel’s albums. Their hits were undeniable monsters, but their obscurities are probably obscure for a reason. 

Someone once told a story on a podcast — it may have been NPR’s Pop Culture Happy Hour — about meeting & interviewing Elton John in his luxurious hotel suite several years back. Elton’s management hinted that Elton would be happy to play him a song after the interview. The intrepid young podcaster, wishing to impress Elton, picked something from side two of Madman Across the Water. When the song was requested, Elton roared “Are you fucking kidding me? I haven’t played that song since I recorded it forty-five fucking years ago! I have no idea how it goes!” He then proceeded to play “Goodbye Yellow Brick Road” for presumably the 14,000th time.

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Dateline: Davis, CA. COVID-19 “shelter-in-place” quarantine, March 18 through…?, 2020

Continuing a COVID-quaratined, too-much-free-time glance through just a few of my Spotify playlists, in roughly alphabetical order…

To re-iterate, a lot of this is adapted and expanded from material originally posted on the Idle Time messaging app in March/April. The Holy Bee is a proud recycler. That’s why when some artists are under review (eg. Fleetwood Mac), the focus is on a single song — it’s a holdover from our lengthy “Billboard Hot 100” discussions.

I have probably taken more abuse from the Idle Time guys for liking the Black Crowes than for any other reason. (Although just as I’m typing this, WH messaged me that he may never forgive me for putting “The Power of Love” by Huey Lewis & The News on our collaborative Best of the 80s playlist, which evidently represents a new low for my group contributions. WH has always been deeply suspicious of fun and joy.)

I’ve always admired and respected David Bowie more than I actually enjoyed listening to him. Something about his mannered vocals, his multiple irony-drenched personas, and cool detachment left me a little put off. He’s another one of those artists that everyone in my peer group loves, and I just don’t “get.” He’s obviously very gifted, eager to experiment, never bound by convention, but…I don’t seem to feel that special resonance that so many revel in. Camp theatricality was never my preferred mode of artistic expression. I gravitated toward the earnest straightforwarndess of Springsteen and Petty, or the evocative wordplay of Dylan.

I have been reading Rob Sheffield’s book-length fan letter On Bowie, and it brought things into a little more focus. What self-conscious adolescent hasn’t experimented with looks and personas, discarding them as soon as a new one springs to mind? Who hasn’t covered their desire to belong with a mask of cool detachment? Bowie was a voice for any kid who struggled with their identity, their sexuality, or the hurt of being an alienated outsider of any stripe. And maybe that’s why his material never resonated with me. Any teenager or young adult will have their moments (or months or years) of feeling rejected and unwanted, and I certainly did. But I was never cut to the core by any of it. My issues were few and I was always comfortable in my own skin. So Bowie was not speaking to me on that frequency.

David Bowie first made a big national splash in the UK on a 1972 episode of Top of the Pops, performing “Starman.” Sheffield goes on to note all the young and impressionable kids watching that day: “Every future legend in the British Isles was tuned in. Morrissey was watching. So was Johnny Marr. Siouxsie was watching. Robert Smith was watching. Duran Duran were watching. So were Echo and the Bunnymen. Dave Gahan…Bauhaus. Jarvis Cocker. Jesus, Mary, and their Chain…”

To a name, all of them artists I am either lukewarm on, or really don’t much like at all. That’s what Bowie’s legacy has been to me.

But what of the music itself? What better time than during a pandemic-enforced, in-home exile to give Bowie’s catalog a re-listen? Wait here.

[Three days later.]

OK, done. I decided not to start at the very beginning, but jumped right in at what Sheffield considers his peak run — 1975’s Young Americans through 1980’s Scary Monsters, and then circled back to his earlier material.

I have mixed feelings about Young Americans. David Sanborn’s attention-hog of a saxophone is all over this pastiche of “Philly soul.” (Both Springsteen and Bowie are guilty of being waaay too in love with the saxophone, which I have an unshakeable prejudice against, at least on songs recorded by white dudes after 1963. What’s a way to make an otherwise good song sound totally stupid and corny? Throw on a big, dumb ol’ sax solo.) The cover of “Across the Universe” makes me cringe — Bowie spends the whole tuneless song sounding as if he’s got something unpleasant caught in his throat. When the album does coalesce, it showcases two of my all-time favorite Bowie songs — the excellent title track, and the equally-excellent  #1 single “Fame” (a collaboration with John Lennon, who must have at least tacitly endorsed Bowie’s “Across the Universe.”). Then there’s “Fascination.” Something about “Fascination” made me prick up my ears, and I couldn’t put my finger on it, then I realized it was a re-working of Stevie Wonder’s “Supersition.” Bowie is a musical magpie, taking shiny bits and pieces from other sources, and adapting them into his own vision.

I found myself enjoying almost every track on Station To Station, which is frequently described as the transitional album between the glam/soul style of his early 70s work to the Krautrock and electronica-influenced “Berlin Trilogy” of the late 70s, when the cocaine-addled Bowie fled the L.A. scene to get his head together in the austere German capital.

The Berlin Trilogy (Low and “Heroes,” both 1977, and 1979’s Lodger) represents Bowie at his most sonically experimental (for now). All three albums utilized the same core rhythm section, which never failed to play with urgency and a peculiar, visceral crunch. Brian Eno provided his trademark spacey keyboard texturing. On the first two albums, there is a clear divide between side one — all propulsion, energy, and mini-hooks — and side two, a sequence of ambient soundscapes with minimal vocals.

If you’re like me, and even the words “ambient soundscape” inspire an inner eye roll, at least it can be said that Berlin Trilogy’s ambient soundscapes are probably the best of that particular style you’re going to hear. There are nice world music flourishes, and the momentum never wanders off into ethereal noodling.

Lodger doesn’t adhere to that format quite as much, and I feel it’s the weakest of the trilogy overall. Scary Monsters (and Super Creeps), recorded back in London and New York, ups the ante on the world music flavor and the artiness of the “art rock,” and coats it with a commercial sheen that foreshadows the next album. 

I extended my initial listening one album past Scary Monsters to 1983’s Let’s Dance, where Bowie’s shifting personas finally coalesce into their final form — the confident, hit-making, MTV-friendly pop star in the natty suit and loosened tie. Produced by Nile Rodgers of Chic, Let’s Dance was made to sound great on the radio, and spin off multiple singles. There were the inevitable cries of “sell out” from the type of unpleasant person who likes to cry “sell out,” but this may have been Bowie’s master stroke. And there was nowhere to go but down. 

At this point, I backtracked to the start of Bowie’s career. His actual debut album, 1967’s David Bowie was considered such a colossal embarrassment by all parties involved that he named his 1969 follow-up…David Bowie, as if to erase the existence of the previous version. The second incarnation of David Bowie, an acoustic-textured blend of hippie folk sounds and wordy prog-rock lyrics, was re-released in 1972 and re-named after its title track (and far and away its best song): Space Oddity. 1970’s The Man Who Sold The World is more of the same, with an overall darker tone, more electric guitar, and a heavier emphasis on the bass end. (Nirvana did a terrific cover version of the title song.)

Hunky Dory (1971) trades acoustic guitar for jaunty piano as its primary instrument, and showcases an entirely new cabaret-pop style that gave Bowie (“Space Oddity” aside) his first clutch of truly memorable statements — “Changes,” “Oh! You Pretty Things,” “Life On Mars?,” among others.

Then came his “glam rock” trilogy: The Rise and Fall of Ziggy Stardust and the Spiders From Mars (1972), Aladdin Sane (1973), and Diamond Dogs (1974), which made Bowie a global superstar. (1973’s Pin-Ups was an all-covers album, and interesting in its own way.) Ziggy is a true concept album, with a loose narrative based around the messianic title character. The two follow-ups abandon a cohesive narrative, and are instead a series of observational sketches seen through the eyes of a Ziggyesque “alien outsider” character. (Ziggy himself “died” onstage each night during Bowie’s ‘73 shows, and was retired at the end of the tour.) Each album rocked a little harder than the one before. The sound of Ziggy was still essentially the bottom-heavy folk-rock of Sold The World, cut through with Mick Ronson’s stinging lead guitar, but by Dogs the sound was full-on hard rock. 

I saved the long decline (and bittersweet comeback) for last. Bowie himself pretty much disavowed all his ‘80s material after Let’s Dance. He threw in the towel on solo work and formed a four-piece, no-frills hard rock band called Tin Machine in 1989, which seemed like a great idea…if only they’d had any decent songs. They disbanded after only three years and two pretty bad albums. His solo work in the ‘90s and early ‘00s was even more experimental than in his prime, fully embracing industrial, drum-and-bass, and electronica, but it was often unfocused and unmemorable. A minor heart attack in 2004 sent him into semi-retirement.

In 2013, he re-emerged with the recorded-in-secret The Next Day, with no promotion or fanfare whatsoever. Re-purposing the cover art of “Heroes,” Bowie sounds jolted alive, and presents us with a cohesive, coherent art-rock album that could easily stand alongside his classics, and includes “The Stars (Are Out Tonight),” his best song in thirty years. Its 2016 follow-up, Blackstar, carries the burden of being the album written and recorded as Bowie was fading away from cancer. He died two days after its release, and naturally, all of his fans cherish this as his final gift to them.

And here’s where I make the blasphemous confession that will forever bar me from true Bowie fandom: I don’t like Blackstar all that much. 

I enjoyed my deep dive into the Bowie discography, and I think I made a pretty good playlist, but the experience didn’t move the needle very much on how I feel about him. Admiration and respect, always, but it’s not passionate love. We can just be friends.

Anything that needs saying about the Byrds, well…I already said it, at my usual length, here and here.

When Johnny Cash re-emerged in the ‘90s thanks to his work with producer Rick Rubin, everyone was retroactively horrified that his record company of 25 years, Columbia, heartlessly dropped the legend in the mid-1980s. Having listened to his early ‘80s output, however, I can only wonder what took them so long. I still love Cash, but navigating his post-Folsom Prison, pre-Rubin discography was a Sisephyan task of getting through an album full of unfunny novelty songs, ponderous spoken-word narrations, turgid gospel, and quasi-misogynist my-woman-is-my-property “love” songs. Then doing it all over again with the next album. Then you find a nugget like “Far Side Banks of the Jordan” on 1977’s little-remembered The Last Gunfighter Ballad, and it feels worth all the trouble.

The Clash…I don’t listen to them nearly as often as I should. Every time I choose to put them on, I’m always glad I did. I bought MMDG’s old Toyota Corolla off him in 2007. He had covered the rear window and bumper with stickers. Tastefully monochromatic, mind you, not garish, and aligned with geometric precision, but it was a very guy-in-his-20s look, and I was by then in my (very) early 30s. So I scraped them all off — except the Clash, which retained pride of place in the back left of the rear window for as long as I had the car. 

The Last Gang In Town purports to be the Clash’s “definitive biography,” but the last ⅔ of the book is author Marcus Gray needing a bucket to carry the amount of butt-hurt he exhibits because the Clash turned out not to be actual committed socialist revolutionaries after all, but just a great rock band.

Creedence…I do not need all nine minutes of “Susie Q.” Luckily, the radio-edit version is available. I do not need a single second of their eleven-minute version of “I Heard It Through The Grapevine…”

[The next day.]

OK, I caved and put “Grapevine” on the list. They build a pretty hypnotic groove.

Bob Dylan…he released a seventeen-minute song early during this quarantine…there was a snippet of Idle Time chatter about it on the IM app…

BC: …which features the lyrics “rub-a-dub-dub, it’s a murder most foul.”

WH: He’s still got it.

Once you get into the Beatles, it’s a pretty short hop to getting into the Byrds, and from there, an even shorter hop to Dylan. 

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