EP 707 THE GRAND OPENING

Oh, don't forget, last episode, I told you guys I'd started having, like, walk-up music.

I play an album side before I do an episode.

And so I was like, why don't I start keeping track of them and have a little playlist.

So as I said, the previous episode was Jesus off the second side of the third Velvet Underground album, the self-titled slash eponymous.

Thank you very much.

I know what that means.

Do you? By that, I mean eponymous.

Of course, you know what self-titled is.

First time I ever heard the word eponymous.

I wonder if you're the same.

It was the R.E.M.

Greatest Hits thing that came out in, I think, I want to say 1988, which is great because at the time, I don't know if I'd gotten all the stuff that was on it, except it had, I think it was the single version.

of Radio Free Europe, which I never liked as much as the album version.

I don't know if it's because I heard the album version first, but if I hear them back to back, I've never liked the single version as much as the album version.

So that's what I think of whenever I hear the word eponymous, other than I like saying it because I sound pretty amazing.

Anyway.

And so today I was listening to one of my most cherished of all compilation albums, Battle of the Garages, which I first picked up, I believe, in 1992, mostly because I finally it was the end to my lifelong quest.

Well, it was probably four years at the time.

to get the original version of Left in the Dark, The Vertebrates.

For years, I had loved the D.T. and the Shakes version.

The Replacements famously had a version.

I think this one made it famous, so to speak.

In the indie-slash-alternative-rock-whatever-world college rock in the 80s, Left in the Dark was like the Louie Louie.

Like, you kind of knew, everybody knew it.

It's one of those, it should be, it should have been a massive hit.