Sam Catchem's face appeared over the edge of the roof.
"You all right, Tracy?"
"Just fine, Sam. Enjoying the view."
Catchem lit a cigarette.
"Yeah. Me too. You know, I was listening to a preacher on one of the news shows last night. He was warning the kids that hanging around these rock and roll joints would bring them nothing but trouble. Looking at you makes me think he may have a point."
"Pull me up, Sam. Now."
"Yes, boss."
As he was being dragged upward across the grooved surface of the giant Wonder record, Tracy stared down at Mumbles' inert form and...
No – not inert. His arms and legs were moving – not much, but moving all the same. He was alive. Tracy shook his head in silent wonder. Mumbles' luck never seemed to run all the way out.
Well, at least now they had a good chance of finding out who was really buried in Mumbles' grave: They could ask Mumbles himself. Either way, though, Tracy would have to get an exhumation order. But that could wait.
At least until this afternoon.
foreword to "Bob Dylan, Troy Jonson, and the Speed Queen"
With the Dick Tracy piece sold, I went back to Reprisal and the short story I'd been tinkering with in November. I'd contributed "Menage a Trois" to Jeff Gelb's Hot Blood a few years before (where Jeff Fazio spotted it and bought it for an episode of Showtime's The Hunger). In the summer of 1989 he'd written asking me if I could come up with a short story for an anthology combining horror and rock. I'd already done two rock related stories – "The Years the Music Died" and "The Last One Mo' Once Golden Oldies Revival" (see Soft & Others) – and didn't know if I had a third in me.
But it got me thinking about my days as a drummer in a garage band during the mid Sixties. We had the hottest party band along the upper Barnegat Bay section of the Jersey Shore when the lead guitarist, Mike Murphy, and I walked away, found new players, and devoted the summer of '67 to seeing how far we could take this music thing. We cut a demo of two original songs; the demo got us a manager who booked us into Greenwich Village spots like the Cafe Wha? and midtown gigs at The Scene West, but we went nowhere.
Remembering those times, though, it occurred to me how far we could have gone if only we'd known then what we know now.
And that was how the story started.
So "Bob Dylan, Troy Jonson, and the Speed Queen" takes you back to the West Village in 1964, when Dylan is digging The Beatles and a rough beast called folk rock is slouching toward the City of Angels to be born. The Eighth Wonder was real – Murph and I used to go there to hear a friend who was in the house band – and I've tried to reconstruct it as accurately as my fogged memory will allow. But on rereading it I find I wasn't careful enough about the songs Troy rips off from the future. Imagine how something like "Life During Wartime" with its references to headphones, computers, disco, and CBGB's would have sounded to an audience in 1964.
Bob Dylan, Troy Jonson, and the Speed Queen
Dylan walks in and I almost choke.
I've known all along it had to happen. I mean, it was inevitable. But still, finding yourself in the same room with a legend will tend to dry up your saliva no matter how well prepared you think you are.
My band's been doing weeknights at the Eighth Wonder for two months now, a Tuesday-Wednesday-Thursday gig, and I've made sure there's an electrified Dylan song in every set every night we play. Reactions have been mixed. At worst hostile, at best grudging acceptance. Electric music is a touchy thing here in Greenwich Village in 1964. All these folkies who think they're so hip and radical and grassroots wise, they'll march in Selma but they'll boo and walk out on a song by a black man named Chuck Berry. Yet if you play the same chord progression and damn near the same melody and say it's by Howlin' Wolf or Muddy Waters or Sonny Boy Williamson, they'll stay. So although my band's electric, I've been showing my bona-fides by limiting the sets to blues and an occasional protest song.
Slowly but surely we've been building an audience of locals. That's what I want, figuring that the more people hear us, the sooner word will get around to Dylan that somebody's doing rocked-up versions of his songs. It has to. Greenwich Village is a tight, gossipy little community in 1964, and except maybe for the gays the folkies are just about the tightest and gossipyest of the Village's various subcultures. I figured when he heard about us he'd have to come and listen for himself. I've been luring him. It's all part of the plan.
And tonight he's taken the bait.
So here I am in the middle of Them's version of "Baby, Please Don't Go" and my voice goes hoarse and I fumble the riff when I see him but I manage to get through the song without making a fool out of myself.
When I finish I look up and panic for an instant because I can't find him. I search the dimness. The Eighth Wonder is your typical West Village dive, little more than a long rectangular room with the band platform at one end, the bar right rear, and cocktail tables spread across the open floor. Then I catch his profile silhouetted against the bar lights. He's standing there talking to some gal with long straight dark hair who's even skinnier than he is, which isn't much of a description because in 1964 it seems all the women in Greenwich Village are skinny with long straight hair.
The band's ready to begin the next number on the set list, our Yardbirds-style "I'm a Man," but I turn and tell them we're doing "All I Really Want to Do." They nod and shrug. As long as they get paid, they don't give a damn what they play. They're not in on the plan.
I strap on the Rickenbacker twelve-string and start picking out Jim McGuinn's opening. I've got this choice figured to be a pretty safe one since my wire tells me that the Byrds aren't even a group yet.
Dylan's taken a table at the rear with the skinny brunette. He's slouched down. He's got no idea this is his song. Then we start to sing I see him straighten up in his chair. When we hit the chorus with the three-part harmony I see him put down his drink. It's not a big move. He'd trying to be cool. But I'm watching for it and I catch it.
Contact.
Research told me that he liked the Byrds' version when he first heard it, so I know he's got to like our version because ours is a carbon copy of the Byrds'. And naturally he hasn't heard theirs yet because they haven't recorded it. I'd love to play their version of "Mr. Tambourine Man" but he hasn't written it yet.
There's some decent applause from the crowd when we finish the number and I run right into a Byrds version of "The Times They Are A-changin'." I remind myself not to use anything later than Another Side of Bob Dylan. We finish the set strong in full harmony on "Chimes of Freedom" and I look straight at Dylan's dim form and give him a smile and a nod. I don't see him smile or nod back, but he does join in the applause.
Got him.
We play our break number and then I head for the back of the room. But by the time I get there his table's empty. I look around but Dylan's gone.
"Shit!" I say to myself. Missed him. I wanted a chance to talk to him.
I step over to the bar for a beer and the girl who was sitting with Dylan sidles over. She's wearing jeans and three shirts. Hardly anybody in the Village wears a coat unless it's the dead of winter. If it's cool out, you put on another shirt over the one you're already wearing. And if it's even cooler, you throw an oversized work shirt over those.
"He sorta kinda liked your stuff," she says.
"Who?"
"Bob. He was impressed."
"Really?" I say, cool as the legendary cucumber on the outside but inside I want to grab her shoulders and shout Yeah? Yeah? What did he say? Instead I say, "What makes you think so?"
"Oh, I don't know. Maybe it's because as he was listening to you guys he turned to me and said, "I am impressed.'"
I laugh to keep from cheering. "Yeah. I guess that'd be a pretty good indication."
I like her. And now that she's close up, I recognize her. She's Sally something. I'm not sure anybody knows her last name. People around the Village just call her the Speed Queen. And by
that they don't mean she does laundry.
Sally is thin and twitchy, and she's got the sniffles. She's got big dark eyes too, and they're staring at me.
"I was pretty impressed with your stuff too," she says, smiling up at me. "I mean I don't dig rock and roll at all, man, what with all the bop-shoo-boppin' and the shoo-be-dooin'. I mean that stuff's nowhere, man. But I kinda like the Beatles. I mean a bunch of us sat around and watched them when they were on Ed Sullivan and, you know, they were kinda cool. I mean they just stood there and sang. No corny little dance steps or anything like that. If they'd done anything like that we would've turned them right off. But no. Oh they bounced a little to the beat maybe but mostly they just played and sang. Almost like folkies. Looked like they were having fun. We all kinda dug that."
I hold back from telling her that she and her folkie friends were watching the death of the folk music craze.
"I dig 'em too," I say, dropping into the folkster patois of the period. "And I predict they're gonna be the biggest thing ever to hit the music business. Ten times bigger than Elvis and Sinatra and the Kingston Trio put together, man."
She laughs. "Sure! And I'm going to marry Bobby Dylan!"
I could tell her that he's actually going to marry Sara Lowndes next year, but that would be stupid. And she wouldn't believe me anyway.
"I like to think of what I play as 'folk rock'," I tell her.
She nods her head and considers this. "Folk rock...that's cool. But I don't know if it'll fly around here."
"It'll fly," I tell her. "It'll fly high. I guarantee it."
She's looking at me, smiling and nodding, almost giggling.
"You're okay," she says. "Why don't we get together after your last set."
"Meet you right here," I say.
*
It's Wednesday morning, 3 a.m., when we wind up back at my apartment on Perry Street.
"Nice pad," Sally says. "Two bedrooms. Wow."
"The second bedroom's my music room. That's where I work out all the band's material."
"Great! Can I use your bathroom?"
I show her where it is and she takes her big shoulder bag in with her. I listen a moment and hear the clink of glass on porcelain and have a pretty good idea of what she's up to.
"You shooting up in there?" I say.
She pulls the door open. She's sitting on the edge of the tub. There's a syringe in her hand and some rubber tubing tied around her arm.
"I'm tryin' to."
"What is it?"
"Meth."
Of course. They don't call her the Speed Queen for nothing.
"Want some?"
I shake my head. "Nah. Not my brand."
She smiles. "You're pretty cool, Troy. Some guys get grossed out by needles."
"Not me."
I don't tell her that we don't even have needles when I come from. Of course I knew there'd be lots of shooting up in the business I was getting into, so before coming here I programmed all its myriad permutations into my wire.
"Well then maybe you can help me. I seem to be running out of veins here. And this is good stuff. Super-potent. Two grams per c-c."
I hide my revulsion and take it from her. Such a primitive-looking thing. Even though AIDS hasn't reared its ugly head yet, I find the needle point especially terrifying. I look at the barrel of the glass syringe.
"You've got half a c-c there. A gram? You're popping a whole gram of speed?"
"The more I use, the more I need. Check for a vein, will you?"
I rub my fingertip over the inner surface of her arm until I feel a linear swelling below the skin. My wire tells me that's the place.
I say, "I think there's one here but I can't see it."
"Feeling's better than seeing any day," she says with a smile. "Do it."
I push the needle through the skin. She doesn't even flinch.
"Pull back on the plunger a little," she says.
I do and see a tiny red plume swirl into the chamber.
"Oh you're beautiful!" she says. "Hit it!"
I push the plunger home. As soon as the chamber is empty, the Speed Queen yanks off her tourniquet and sighs.
"Oh, man! Oh, baby!"
She grabs me and pulls me to the floor.
*
I lay in bed utterly exhausted while Sally runs around the apartment stark naked, picking up the clutter, chattering on at mach two. She is painfully thin, Dachau thin. It almost hurts to look at her. I close my eyes.
For the first time since my arrival, I feel relaxed. I feel at peace. I don't have to worry about VD because I've had the routine immunizations against syphilis and the clap and even hepatitis B and C and AIDS. About the worst I can get is a case of crabs. I can just lie here and feel good.
It wasn't easy getting here, and it's been even harder staying. I thought I'd prepared myself for everything, but I never figured I'd be lonely. I didn't count on the loneliness. That's been the toughest to handle.
The music got me into this. I've been a fan of the old music ever since I can remember – ever since my ears started to work, probably. And I've got a good ear. Perfect pitch. You sit me down in front of a new piece of music and guaranteed I'll be able to play it back to you note for note in less than half an hour – usually less than ten minutes for most things. I can sing too, imitating most voices pretty closely.
Trouble is, I don't have a creative cell in my body. I can play anything that's already been played, but I can't make up anything of my own to play. That's the tragedy of my life. I should be a major musical talent of my time, but I'm an also-ran, a nothing.
To tell you the truth, I don't care to be a major musical talent of my time. And that's not sour grapes. I loathe what passes for music in my time. Pushbutton music – that's what I call it. Nobody actually gets their hands on the instruments and wrings the notes from them. Nobody gets together and cooks. It's all so cool, so dispassionate. Leaves me cold.
So I came back here. I have a couple of relativesw in the temporal sequencing lab. I got their confidence, learned the ropes, and displaced myself to the early-mid 1960s.
Not an easy decision, I can assure you. Not only have I left behind everyone and everything I know, but I'm risking death. That's the penalty for altering the past. But I was so miserable up there that I figured it was worth the risk. Better to die trying to carve out a niche for myself here than to do a slow rot where I was.
Of course there was a good chance I'd do a slow rot in the 1960s as well. I'm no fool. I had no illusions that dropping back a hundred years or so would not make me any more creative than I already wasn't. I'd be an also-ran in the Sixties too.
Unless I prepared myself.
Which I did. I did my homework on the period. I studied the way they dressed. the way they spoke. I got myself wired with a wetchip encoded all the biographies and discographies of anyone who was anybody in music and the arts at this time. All I have to do is think of the name and suddenly I know all about him or her.
Too bad they can't do that with music. I had to bring the music with me. I wasn't stupid, though. I didn't bring a dot player with me. No technological anachronisms – that's a sure way to cause ripples in the time stream and tip your hand to the observation teams. Do that and a reclamation squad'll be knocking on your door. Not me. I spent a whole year hunting up these ancient vinyl disks–"l.p.'s" they call them. Paid antique prices for them but it was worth it. Bought myself some antique money to spend back here too.
So here I am.
And I'm on my way. It's been hard, it's been slow, but I've only got one chance at this so I've got to do it right. I picked the other band members carefully and trained them to play what I want. They need work so they go along with me, especially since they all think I'm a genius for writing such diverse songs as "Jumpin' Jack Flash," "Summer in the City," "Taxman," "Bad Moon Rising," "Rikki Don't Lose That Number," and so many others. People are starting to talk about me. And now Dylan has heard me. I'm hoping he'll bring John H
ammond with him some time soon. That way I've got a shot at a Columbia contract. And then Dylan will send the demo of "Mr. Tambourine Man" to me instead of Jim McGuinn.
After that I won't need anyone. I'll be able to anticipate every trend in rock and I'll be at the forefront of all the ones that matter.
And so far, everything's going according to plan. I've even got a naked woman running around the apartment. I'm finally beginning to feel at home.
"Where'd you get these?"
It's Sally's voice. I open my eyes and see her standing over me. I smile, then freeze.
She's holding up copies of the first two Byrds albums.
"Give me those!"
"Hey, really. Where'd–?"
I leap out of bed. The expression on my face must be fierce because she jumps back. I snatch them from her.
"Don't ever touch my records!"
"Hey, sorreeeee! I just thought I'd spin something, okay? I wasn't going to steal your fucking records, man!"
I force myself to cool down. Quickly. It's my fault. I should have locked the music room. But I've been so wrapped up in getting the band going that I haven't had any company, so I've been careless about keeping my not-yet-recorded "antiques" locked away.
I laugh. "Sorry, Sally. It's just that these are rarities. I get touchy about them."
Holding the records behind me, I pull her close and give her a kiss. She kisses me back then pulls away and tries to get another look at the records.
"I'll say they are," she says. "I never heard of these Byrds. I mean like you'd think they were a jazz group, you know, like copping Charlie Parker or something, but the title on that blue album there is "Turn! Turn! Turn!" which I've like heard Pete Seeger sing. Are they new? I mean they've gotta be new but the album cover looks so old. And didn't I see 'Columbia' on the spine?"
"No," I say when I can finally get a word in. "They're imports."
"A new English group?"
"No. They're Swedish. And they're pretty bad."
The Barrens & Others Page 31
