Canadian Nick Gilder had a penchant for writing sugary-sweet pop/rock songs about underage hookers/street trash/what have you for a couple of years in the mid-Ã¢â‚¬Ëœ70s with CanadaÃ¢â‚¬â„¢s glam answer to The Sweet, Sweeney Todd. But after scoring a #1 hit and a Juno Award up north in 1975 with the single Ã¢â‚¬Å“Roxy Roller,Ã¢â‚¬Â Gilder struck out on his own for solo stardom, giving a young 16-year old Bryan Adams his shot as Sweeney ToddÃ¢â‚¬â„¢s new lead singer (wonder whatever happened to that Adams kid?).
GilderÃ¢â‚¬â„¢s first solo album came and went with nary a blip, but in 1978, the lead single off his second album, City Nights, changed everything. Ã¢â‚¬Å“Hot Child in the CityÃ¢â‚¬Â hit the top of the charts in the U.S. and Canada — and made the Top Ten in quite a few other territories — making Gilder the one of the hottest new superstars in rock.
Then came follow-up time.
Ã¢â‚¬ÂHere Comes the NightÃ¢â‚¬Â seemed a natural for City Nights‘ second single. It was written by Gilder and his guitarist James McCulloch, just like Ã¢â‚¬Å“Hot Child in the City.Ã¢â‚¬Â It was instantly catchy, just like Ã¢â‚¬Å“Hot Child in the City.Ã¢â‚¬Â It was about hot jailbait, just like Ã¢â‚¬Å“Hot Child in the City.Ã¢â‚¬Â But it was a flop, not like Ã¢â‚¬Å“Hot Child in the City.Ã¢â‚¬Â
To this day, IÃ¢â‚¬â„¢m confounded by Ã¢â‚¬Å“…NightÃ¢â‚¬â„¢sÃ¢â‚¬Â failure to become a hit. As a admittedly pop-forward-thinking 10-year old, I bought the 45 and wore it out, even more than Ã¢â‚¬Å“Hot Child.Ã¢â‚¬Â I even held up my little portable cassette player to my stand-alone phonograph and recorded it over and over, so I’d have the song on a nice loop and wouldn’t have to wait for the tone arm to go back and forth before I could hear it again.
This explains much about me.
“Here Comes the Night” peaked at #44 on the Billboard Pop Singles Chart in 1978.
City Nights was recently re-released on CD alongside the next Nick Gilder album Frequency as a two-fer — you can grab them both for a decent price on Amazon