The parable of the credits

It would be an understatement to say that I didn’t get on well with Paul Thomas Anderson’s Inherent Vice. But I did stay until the end of the film, all the way to the credits, at which point I was unexpectedly rewarded by the sound of a record that I sometimes think would be the one I’d save from a burning house: Chuck Jackson’s “Any Day Now (My Wild Beautiful Bird)”.

For me this record, a US Top 40 hit in the summer of 1962, is Burt Bacharach’s finest hour as a writer of melodies and arrangements. His creation finds its perfect match in Bob Hilliard’s poetic words, with their gloriously gloomy prediction that “those blue shadows will fall over town” when the singer’s lover leaves, as he is convinced she will. Jackson, one of the best singers of his type and era, does the song full justice: of all the many artists who later covered it, none ever improved on this original version. In the lovely clip above, Bacharach mimes the distinctive organ intro; it was actually played in the studio by the great Paul Griffin.

Hearing it at the very end of a film I disliked was a reminder of sitting through Wim Wenders’s three-hour 1991 film Until the End of the World, until the moment when, after what felt like several weeks, the credits rolled and a half-familiar voice croaked: “I tried to reach you… on Valentine’s Day…”. Thus I was introduced to Robbie Robertson’s “Breakin’ the Rules”, a track from the 1991 album Storyville which — thanks not least to the understated nobility of its horn arrangement by the late Wardell Quezergue, as well as the achingly soulful vocals shared by Robertson with the Blue Nile’s Paul Buchanan — has existed for me ever since on a plane only half a notch below “Any Day Now”, which is to say within touching distance of heaven.

So the moral must be: whatever your opinion of the film, don’t leave your seat until you’ve see the line about no animals being harmed and the lights have come up.