What you like, not what you are like

It's an unbelievable 25 years since the cinema release of High Fidelity.

Directed by Stephen Frears and starring John Cusack as Rob, it remains an object lesson in how to adapt and change a successful book into an equally successful film. Nick Hornby didn't have a problem with the story relocating to Chicago, after all, so why should we? And it has a brilliant soundtrack (as a film set around a record shop should) and quotable dialogue (example left) by the mile.

Most of all, the film endures so well because of how it speaks to Generation X men. No, not Billy Idol. Blokes like you and me, born between 1965 and 1980 (Wikipedia confidently asserts), blokes now properly into their fifties, getting on a bit yet still waiting for that moment when they figure it out... it being life. Life is complicated. In the film, Rob excruciatingly re-examines his romantic history, trying to understand what went right and (mostly) wrong. No spoilers (not that you haven't seen it already) but he mostly works it all out, with a little help. Of course it is a fiction - if only real life were that simple.

Maybe it's because of that complexity that the quote on the left resonates - people are complicated but you can tell a lot from a person's likes and dislikes - the books, records and films that float their boat. That is why these things matter, at least to our generation. I wonder if the same will be true for Generation Z and later, now that books are electronic, records are all played through a phone's tinny, tiny speakers one track at a time ("What's an album?") and your choice of films is dictated by which streaming service you sign up to. But for us - for me - these things still matter.

You'll note, of course, that I haven't included Rob's next line of dialogue in the screenshot, in which he admits this assertion is "fucking shallow".

Anyway, we never get to find out, in the film, what Rob's Top 5 records are, though there is a clue: in his apartment, he has these records on the wall, hung in frames:

• Maggot Brain by Funkadelic
• Tonight's the Night by Neil Young
• Wild Honey by The Beach Boys
• Goo by Sonic Youth
• Double Nickels on the Dime by Minutemen

I don't know whose choices these were - Frears', Cusack's, Hornby's... some set designer's. Who knows? But it's an excuse for some songs, and hence a blog post - see what you think. High Fidelity is having a limited cinematic re-release to celebrate its birthday; why not go along? I think I might.

And the impossible question: what's your Top 5?

Public service book announcement

No, this is not an April Fool.

Slade House by David Mitchell (not that one, the other one) is currently only 99p if you have a Kindle or the Kindle app, but only for a limited time. It's bloody brilliant, you should definitely read it. It was my book of the year in 2016, when I lauded its "seductive prose and remorseless sense of the uncanny". So there.

And no, it's nothing to do with Noddy and Dave (or Cup-a-Soups).

This week, I have mostly been listening to...

...Bowerbirds and Blue Things, the new album from Brighton's Jetstream Pony. And it's an excellent slab of, in their words, "schrammelig post punk and indie-pop". Depending on which online translation service you use, schrammelig seems to mean either scruffy, smudged or "strummy", all of which seem to fit. Go on, lend it your ears.

There's a video too, if visuals are your thing.

That's alright, isn't it? Honestly, most of what I listen to is old, but occasionally something new pops up that I can get behind, and this is one such. Although there's nothing new really is there, at least not in my tastes. Because this is where I throw in that Jetstream Pony's guitarist Shaun Charman was in the George Best-era iteration of The Wedding Present.

What do you stand for?

You might have seen in the news yesterday that two RAF engineers were sentenced for vandalising a fibreglass statue of Paddington Bear, after one too many sherbets. For reference, on the right is a photo I took this morning to show the kind of statue we're talking about - they're currently dotted around all over the country.

Anyway, here's the thing. In summing up, the judge presiding over the vandalism case described Paddington as a "beloved cultural icon [who] represents kindness, tolerance and promotes integration and acceptance in our society." He went on to describe the vandals' actions as "the antithesis of everything Paddington stands for." And this is where it gets interesting.

Reaction to the judge's words has been cautiously mixed. Can a fictional, anthropomorphised talking bear really stand for anything, asks a section of society that could probably find better things to do with its time. Another, slightly more clickbaited response to that has been to observe that of course fictional characters can stand for something - people have been investing in the morality of gods for millenia, after all. And for there it all gets unseemly and petty and divisive - the antithesis indeed.

I was thinking about this yesterday, after reading the story, and then read 199 Song's excellent post which reminded me of Morgan Freeman's closing voiceover to Se7en, specifically:

Ernest Hemmingway once wrote, "The world is a fine place, and worth fighting for." I agree with the second part.

I know what I stand for. And I agree with the second part too.

Some songs.

Want to know what Cuyahoga is about?

...they're never gonna make you stand in line...

...I am a moth who just wants to share your light...

...All of these people who want us to fail, I won't let that happen now...

New to NA: Sad Sells

Sad Sells are a six-piece band from Manchester about whom I know very little. I heard a version of Don't Feel Sad on 6 Music at the weekend, and something chimed with me - perhaps the "I don't feel much, but I don't feel sad" refrain - so I investigated a little deeper. They have a YouTube channel, Soundcloud and other stuff, of course. Guy Garvey was quick to make Smiths comparisons but I think that's lazy on his part - just because they have an M postcode and some jangly guitar sounds. But aside from the fact that they are not the sons and heirs of Morrissey and Marr, I think they are making a half-decent noise. See what you think.

Heaven knows I've tried

I don't say this often, but there's a good chance this will be the best song you hear all day.

The Amusements clan has been working its way through Ted Lasso - it's mostly feelgood, mostly family-friendly, mostly funny television that we all get something out of (though the something in question probably varies somewhat amongst the clan).

The title theme is by Marcus Mumford, of Mumford and Sons, and serial soundtrack specialist Tom Lowe; it's an upbeat, positive, happy sounding two and a bit minutes that ably gets you in the mood for what is to come next. It's catchy, it's la-la-alongable, it's everything a good theme tune for a light entertainment programme should be.

And then there's Jeff Tweedy's version.

The sometime Wilco frontman's beautiful acoustic rendition is also used in the show (episode nine of series two, fact fans), specifically to soundtrack a scene following AFC Richmond's FA Cup semi-final thrashing by Manchester City, when coach Beard takes the tube back from Wembley alone. And it is wonderful. Jeff's delicate, finger-picking guitar lets the lyric come much more to the fore, and the upbeat postivity is suddenly replaced by resignation, sadness and, ultimately, acceptance. It's fantastic, I think, and, to repeat myself, is probably the best thing you'll hear today. Here it is.

Yeah, it might be all that you get
Yeah, I guess this might well be it

If you slow down for a second, take your time
You know I'm yours if you remember that you're mine
And when everybody's telling me I have no time 
I prove 'em wrong again

Yeah, it might be all that you get
Yeah, I guess this might well be it
Well, heaven knows I've tried

No, my hands won't be tied down
And I will not lay them down 
'Cause I can finally see the truth
So simple but so clear
Accepting an ocean's depths were out of reach for me and you

If you're coming up for air breathing in
You know I'll be there when you first begin
And when everybody's telling us we have no time 
We'll prove 'em wrong again

'Cause, yeah, it might be all that you get
Yeah, I guess this might well be it
But heaven knows I've tried

How long can you wait?

Despite Martin's 2012 statement "I’m sure now would be a very apt time to reform Gene, but I would rather eat my own penis. Fried. With shallots.", and the tension that sprung up around his performing Gene songs at a solo farewell concert without the rest of the band, this is happening. I guess time heals all wounds (and seasons shallots).

From the band's statement this morning:

Today marks an incredible 30 years since the release of our debut album Olympian. It feels like only yesterday we released these songs and we’re endlessly grateful for the love and support you've shown us over the years. To celebrate, we are beyond excited to announce that we will be reuniting for a very special show at the legendary Eventim Apollo in Hammersmith this October.

And there's a shiny new website to go with it all too, plus an official page on Bacefook and the 'gram.

I know October is a while off, and there's many a slip 'twixt cup and lip, but for now, this looks like it really is happening. I will be there, come hell or high water. Until then... from 30 years ago, here's the band's TV debut on The Late Show. Great time-capsule TV intro too.

P.S. Only by looking at the directorship of the newly formed Gene Touring Limited on the Companies House website did this lifelong Gene fan discover that Martin's middle name is Charles. So there you go.

P.P.S. The Rozzer has been interviewed by the NME. There may be warm-up gigs! There may be dates in 2026!

Back in town

Much as I like, and have very specific mental associations with, the Thin Lizzy original, I do love a cover version that tries to do something a bit different. The Cardigans slow it down a bit, add some sort of tinkling keyboard line in the middle eight and, as always, deploy their trump card in the shape of Nina Persson's vocals. Any excuse, etc.

For comparison, the Thin Lizzy original.

What are your favourite cover versions that "do different"?

Hush

I'm tired of people talking loudly during gigs. If you want to have a chat with your mate, go to the bar. Other gig-goers should not have to struggle to hear the music over the sound of you and yours having a catch-up.

I'm so tired of it that, after a particularly noise-disrupted gig (Suede in 2023), I considered trying to start a campaign to make talking loudly during gigs socially unacceptable. HUSH, I was going to call it, thinking myself clever. Of course I went nowhere with the idea, because I can count the number of people in the world who give a toss what I think on my fingers, so what would be the point? All I did was get as far as roughing up a campaign logo, which I present here for anyone to use however they see fit. You can click any of these for a full-size version.

I did get as far as making this available as a T-shirt though, and a baseball cap, and a mug, and a sticker, and all the rest. Knock yourselves out. Spread the word... quietly... Until then, here's an obvious song that you can listen to without anyone talking over it: Kula Shaker's cover of Hush.

Blue Friday: Ciao!

What do you get if take a peak-Miki Lush, add a dollop of Jarvis, a dash of melodica (I think?) and a cutting, bittersweet break-up lyric? Well, Ciao!, of course. It tries so hard to be upbeat about the turn of events, but the song doth protest too much, I think. From their last album, 1996's Lovelife, here it is.

I've been so happy since I walked away
I never thought that I could feel as great as I do today
'Cause you were nothing but a big mistake
And life is wonderful, now that I'm rid of you

Oh I must've been crazy to have stayed with you
I can't believe I thought I was in love with you
But now the scales have fallen I can really see
And I say go to hell, 'cause thats where you took me

Well, I've felt better since I slammed that door
You always cramped my style, I never noticed before
It's been a non-stop party since I flew the coop
I can't believe I fell for such a loser like you

And is it any wonder that I felt so blue
When I was always having to put up with you
Oh, here we go again, just lay the blame on me
Don't say another word, 'cause sweetheart, you're history

I know that you miss me really
Bet you wish that you still had me
You'll never find someone like me but
I've got no regrets at all

'Cause I've met this girl and she's so good to me
She's really beautiful, fantastic company
Oh, when I'm with her I realize what love can be
Because she's fifty times the person you will ever be

Good luck, mister, do you think I care?
Since you've been gone the offers have been everywhere
I've got a million guys just lining up for me
I've turned a corner, boy, my life is ecstasy

Well, I've been in heaven since I walked away
I never thought that I could feel as great as I do today
'Cause you were nothing but a waste of space
And life is wonderful now that I'm over you