Posts Tagged ‘Late in the Evening’

So, at some point in the 1990s, a well-lit Barnes & Noble bookstore opened its doors not more than 10 minutes from our domicile. There were copious magazine racks, shelves upon shelves upon shelves of books, wonderful books, and – perhaps most importantly to me – a cafe where one could browse possible purchases while sipping Starbucks-branded coffee, lattes and macchiatos. Most weekends, Diane and I could be found there, she making like a power reader while I leafed through magazines and downed various double-shot concoctions.

I’m not sure if we subscribed to the New Yorker at that point in time, though I know we did for a few years that decade. It matters not whether this part of the story occurred at home, while standing at the B&N magazine racks or in the cafe, however: I spotted (in the Sept. 11th, 1995 issue) Rob Nixon’s upbeat critique of British scribe Nick Hornby’s debut novel, High Fidelity, about a music obsessive’s journey into maturity. In part, the review read (and I’m lifting this direct from Hornby’s own website), “It is rare that a book so hilarious is also so sharp about sex and manliness, memory and music. Many men and, certainly, all addictive personalities will find in these pages shadows of themselves. And most of us will hear, in Hornby’s acoustic prose, the obsessive chords of the past that more often lock up than liberate our hearts.”

It seemed like something I might like, in other words. I located the book, flipped through it and decided to buy it. In the cafe, or perhaps in the main thoroughfare to the cafe, I shared my find with Diane. On the way home, we made a quick stop at the supermarket; while I ran in to get what we needed, she stayed in the car…and began to read the book.

I didn’t get it back from her until she finished.

High Fidelity was, is and will always be one of my favorite novels. The protagonist, Rob Fleming, owns a record shop staffed by music-crazed obsessives who, like him, use music as both a defense mechanism and escape hatch from life. He sorts through the frayed ephemera of past relationships to figure out why his present is filled with far too many pops, clicks and crackles; and, along the way, comes to an unsettling realization: A person’s taste in music doesn’t reflect anything but their taste in music.

In any event, I recognized the characters from a lifetime spent in musty-and-dusty record shops as well as, for a few years, managing the CD departments at two video-rental (and much cleaner) stores. They were my people, essentially; I traded tapes with customers, debated trivial matters with others, and – like Rob and his pals/employees – made tons of lists. On these shores, or at least in my circle, they were Top 10s as opposed to the book’s use of Top 5s, but that was it. Diane, a fellow music obsessive, was the same. A few years later, when I launched the original Old Grey Cat website, we even created a page that honored High Fidelity’s Top 5 concept (and I still honor it with my too-frequent Top 5 posts).

Five years later, the book was turned into a movie and Americanized, with John Cusack shepherding and protecting his emotions through music while figuring out how and why he’d made a mess of his life. We saw it in the theaters and, though we had our quibbles, liked it. A lot.

All of which leads to this: Earlier this year, I discovered that a High Fidelity TV series was set to premiere on Hulu. The dearth of originality in Hollywood has resulted in more trash than gems, so my initial reaction was to shrug it off. Why remake a semi-classic film? Then I read that the creative team had changed Rob from a guy to Zoë Kravitz and London/Chicago to Brooklyn. That the daughter of Lisa Bonet, who appeared in the film, stars in it made me feel old, but also clued me that the TV series was aiming for something more than a straight remake.

In the short term, it didn’t much matter: We were re-watching one of Diane’s favorite shows, The West Wing, anyway, and then we re-watched Homicide: Life on the Street, following it with Sex, Chips & Rock ’n’ Roll and other assorted older shows and movies. As we do. The High Fidelity TV series fell off my radar, in other words, and remained so until I read, just a few weeks back, that it had been cancelled.

We gave it a go that same week.

Like the movie, the TV series has Rob (short for Robyn) break the fourth wall – and, in one episode, allows her friend/employee Simon (David H. Holmes) to do the same. Kravitz is terrific, as is the supporting cast – Da’Vine Joy Randolph as Cherise, especially. 

One of the biggest misconceptions about the book is that it is specific to the male experience, but its overarching themes – fear of commitment, self-sabotage and qualms about adulthood and adult responsibility – are near-universal conceits. (The truth is, men aren’t from Mars and women aren’t from Venus; we both hail from Earth – and share 99.9 percent of the same DNA.) Certain aspects of the story differ because of the gender-flip, of course, but it remains true to Hornby’s core vision. At root, the new Rob – like the old Rob – is damaged. It’s not until she begins to make the necessary repairs that she has a shot at happiness.

Now, I wish we’d watched it right off the bat – if only to add one more viewer to whatever metric Hulu uses to decide what to renew or what to cancel. (Quality certainly isn’t among the reasons they rely upon; if they did, High Fidelity would be a no-brainer to bring back,)

And, with that, here’s today’s Top 5: Songs About Music.

1) Diane Birch – “Jukebox Johnny.” Just yesterday, the Church of Birch pastor released this addictive tune about late-night salvation found in songs.   

2) Dobie Gray – “Drift Away.” A much-covered tune about losing one’s self in a melody, this rendition – a big hit in 1973 – was itself a cover version. Written by Mentor Williams (the brother of actor/singer-songwriter Paul Williams), it was first recorded by Clarence Carter in 1970 and then John Henry Kurtz in 1972.

3) The Kinks – “Rock & Roll Fantasy.” A classic Ray Davies ode to folks who turn to music for solace – and the price they pay. “There’s a guy in my block, he lives for rock/He plays records day and night/And when he feels down, he puts some rock ‘n’ roll on/And it makes him feel alright/And when he feels the world is closing in/He turns his stereo way up high…”

3) Simon & Garfunkel – “Late in the Evening.” A Paul Simon song from his 1980 One Trick Pony album/movie, this version from S&G’s legendary 1981 Concert in Central Park is equally evocative, conveying the utter magic and mystery of music and how it colors life for the better.

5) Patti Smith – “Land/Gloria.” Turn this up loud. In 2012, Patti toured as the opening act for Neil Young and Crazy Horse – and, as this fan-shot video shows, damn near blew those warhorses off the stage. (Note I say “damn near.”) Diane and I were at this show in Philly, and totally blown away by her performance – this song, especially. (Patti has said that “Land” is a metaphor for the birth of rock ’n’ roll, but all I know is it’s great.)

We watched Ordinary People last night. It’s a film we’d both seen before, though not in decades. Diane first saw it in a movie theater not long after its Sept. 19, 1980, release and I first saw it on PRISM, a now-defunct regional premium cable channel that was popular in the Philly area at the time, about a year later. An understated and powerful movie, it won a bevy of Academy Awards, including Best Picture, Best Director (Robert Redford, in his directorial debut) and Best Supporting Actor (Hutton).

ordinarypeopleFor those unfamiliar with it, the drama delves into the dynamics of a dysfunctional family following the death of eldest son Buck (Scott Doebler), who perished in a sailing accident that youngest son Conrad (Timothy Hutton) survived. As the story opens, Conrad has recently returned from a stay at a psychiatric hospital after a failed suicide attempt; he’s racked with survivor’s guilt. Mother Beth (Mary Tyler Moore, in an Oscar-nominated performance) is emotionally distant, more concerned with appearance than addressing his (or her, for that matter) needs. Father Calvin (Donald Sutherland), on the other hand, just wants everyone to get along. As Roger Ebert put it in his review, he’s “one of those men who wants to do and feel the right things, in his own awkward way.” Enter psychiatrist Tyrone Berger (Judd Hirsch) and the down-to-earth Jeannine (Elizabeth McGovern), a girl who catches Conrad’s eye. Both, in their ways, help him overcome the guilt – one knowingly, the other not.

In other entertainment events from that September, the Dionne Warwick-hosted Solid Gold syndicated music series debuted on the 13th.

I have no memory of whether I watched it or not; likely not. If I wasn’t out at a movie – at the Hatboro Theater in downtown Hatboro or the Eric Theater in the Village Mall in Horsham – I was likely reading the Sunday newspaper while listening to the oldies on the radio, listening to music in my room and/or watching TV. (How’s that for narrowing it down?) I was 15, a high-school sophomore and serious music fanatic.

Among the album releases for the month: Kate Bush’s Never for Ever; David Bowie’s Scary Monsters (and Super Creeps); the Doobie Brothers’ One Step Closer; Ozzy Osbourne’s Blizzard of Ozz; Barbra Streisand’s Guilty; Utopia’s Deface the Music; Stevie Wonder’s Hotter Than July; and Molly Hatchet’s Beatin’ the Odds.

And, with that – onward to today’s Top 5: September 20, 1980, in which I cherry pick my favorite hits from the Weekly Top 40 for the week in question…

1) Diana Ross – “Upside Down.” For the third week in a row, Diana held the top spot with this infectious song. It, like the 1980 diana album as a whole, was written and produced by Chic’s Nile Rodgers and Bernard Edwards, though the end result was not what they intended. Afraid that the original mix was too disco, which was quickly falling out if favor, Diana and engineer Russ Terrana gave the set a sleek, more pop-oriented makeover.

2) Irene Cara – “Fame.” Holding steady at No. 4 is this classic theme song. If you watched the above Solid Gold clip, you know that Irene sang (or lip-synced) it there; it’s such a great song, though, that I can’t help but share it again (And, yes, I know I’ve shared this same clip before – here, to be precise.)

3) Paul Simon – “Late in the Evening.” Clocking in at No. 7 is this classic from Paul Simon, which is one of my favorite songs by him.

4) Olivia Newton-John & Electric Light Orchestra – “Xanadu.” Just bubbling under the Top 10, at No. 12, is this, the title song to the movie musical, which was released the previous month. I saw the film at the aforementioned Eric Theater and, like most who did, didn’t find it a five-star affair. (An understatement, that.). The soundtrack, however, was darn good; I played it to death.

5) Bob Seger & the Silver Bullet Band – “You’ll Accomp’ny Me.” Here’s a classic song from Michigan’s rock ’n’ roll laureate. Against the Wind, the album that it’s from, was my Album of the Year for 1980; I still think it’s great.

And, for today, a few bonuses…

6) Christopher Cross – “Sailing.” Falling from No. 5 to 15 is this Grammy Award-winning song from Christopher Cross. I imagine that this song, from Cross’ debut, would be lumped into what’s now known as “yacht rock.” Whatever. At the time, I found it a pleasant diversion that I didn’t need to own – it was played fairly often on the radio, after all. Nowadays? I often play Rumer’s version from her 2014 B-Sides & Rarities collection.

7) Olivia Newton-John – “Magic.” This classic ONJ number held the top spot for four weeks in August before beginning its downward drift. This week, it fell from No. 13 to 27.

8) Jackson Browne – “That Girl Could Sing.” Debuting on the charts this week, at No. 82, is this classic song from Hold Out, Browne’s only album to reach No. 1.