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High Fidelity
Original Soundtrack
| Released | 2000 |
| Film summary | Ever thought about which records would make up the soundtrack to your life? Rob Gordon has. A thirtysomething obsessed with music, top five lists, and musical top five lists, his life is going slowly downhill. Rob's girlfriend has just left him, the record store he owns doesn't sell any records, and his closest friend is a Katrina and the Waves fan. Cue a plan to meet up with the ex-girlfriends on his Top Five Breakups list, and find out what has been going wrong all these years. Fortunately, the answers turn out to be much closer to home… |
| Album summary | High Fidelity the novel reflected the all-encompassing passion for music which is usually only associated with spotty teenagers and John Peel. Fortunately, this enthusiasm has been potently translated into both the film and its soundtrack. A rare thing amongst OSTs, this album is more than effective on its own terms, collecting tracks by everyone from Stevie Wonder to The Beta Band in an eclectic but cohesive mix of old and new. |
Making a compilation tape - as all illegal recording junkies know - is a serious business. One slip in the choice or order of the songs and it could be all over for that particular friendship/prospective relationship. Accidently reveal your penchant for The Bee Gees in a misguided display of irony, and you might find yourself isolated from society. It's that important…
All compilations should start as they mean to continue, with a belter of a record no-one in their right mind could argue with. 'A Town Called Malice' by The Jam, for example. But be careful not to obscure the second track, and allow yourself room to build on the atmosphere you have established. Pick The Thirteenth Floor Elevators 'You're Gonna Miss Me' as a continuation of the guitar driven sound of the opening track.
Always remember to contrast the established artists with something less well known. All compilation tapes should contain at least one obscurity and one interesting cover version. Why not choose to back bright young hopefuls The Beta Band, with their everything-including-the-kitchen-sink attitude to musical instruments, or perennial favourites Stereolab and their wibbly European brand of postmodernism. Alongside this, place an ill-advised Marvin Gaye cover, making sure it somehow avoids being catastrophic in the context of the album as a whole.
The ideal tape should reveal tantalising information the mindset of compiler, while retaining a sense of mystery to keep the listener interested in finding out more about the person behind the music. It's best to stick to more neutral tones such as Aretha Franklin and The Kinks. 'If You Don't Want To F*** Me Baby, F*** Off' by The Dead Kennedys is not advisable if a potential relationship is at stake.
Despite the need for ambiguity, don't be afraid to show your sensitive side. Pick from a wide range: from the raw emotion of Bob Dylan's 'Most of the Time', to classic Velvet Underground (an outing for two tracks to prove your knowledge isn't limited to 'Sweet Jane'), and lame MOR from Sheila Nicholls to ensure that the less adventurous listener is not alienated.
So, to the closing song on the album. This must combine all of the above elements, providing a satisfying end to the tape while leaving the listener wanting to hear more. Try Stevie Wonder's 'I Believe', a bittersweet ode to the optimism of new-found love, with its sugar-sweet soul and sparkling heart-ache.
The compilation tape plays an important role in High Fidelity, as it did in Nick Hornby's original musings on the contradicting obsessions and relationships sections of the male psyche. Thanks to a production team whose musical discernment seems to match that of the film's characters, this album does not disappoint. Combining the commercial with the esoteric, it consistently remains one of the few soundtracks which could - and should - be glued to your CD player, at least until the release of the next Beta Band album.
Rob Gordon would be proud.
