Seven weeks ago, the man from Columbia called again and told him to go get a copy of Billboard. Larry ran. “Baby, Can You Dig Your Man?” was one of three hot prospects for that week. Larry called the man from Columbia back, and he had asked Larry how he would like to lunch with some of the real biggies. To discuss the album. They were all pleased with the single, which was getting airplay in Detroit, Philadelphia, and Portland, Maine, already. It looked as if it was going to catch. It had won a late-night Battle of the Sounds contest for four nights running on one Detroit soul station. No one seemed to know that Larry Underwood was white.

He had gotten drunk at the luncheon and hardly noticed how his salmon tasted. No one seemed to mind that he had gotten loaded. One of the biggies said he wouldn’t be surprised to see “Baby, Can You Dig Your Man?” carry off a Grammy next year. It all rang gloriously in Larry’s ears. He felt like a man in a dream, and going back to his apartment he felt strangely sure that he would be hit by a truck and that would end it all. The Columbia biggies had presented him with another check, this one for $2,500. When he got home, Larry picked up the telephone and began to make calls. The first one was to Mort “Gino” Green. Larry told him he’d have to find someone else to play “Yellow Bird” while the customers ate his lousy undercooked pasta. Then he called everyone he could think of, including Barry Grieg the Remnants. Then he went out and got standing-up falling-down drunk.

Five weeks ago the single had cracked Billboard ’s Hot One Hundred. Number eighty-nine. With a bullet. That was the week spring had really come to Los Angeles, and on a bright and sparkling May afternoon, with the buildings so white and the ocean so blue that they could knock your eyes out and send them rolling down your cheeks like marbles, he had heard his record on the radio for the first time. Three or four friends were there, including his current girl, and they were moderately done up on cocaine. Larry was coming out of the kitchenette and into the living room with a bag of Toll House cookies when the familiar KLMT slogan—Nyoooooo… meee-USIC! —came on. And then Larry had been transfixed by the sound of his own voice coming out of the Technics speakers:

I know I didn’t say I was comin down,

I know you didn’t know I was here in town,

But bay-yay-yaby you can tell me if anyone can,

Baby, can you dig your man?

He’s a righteous man,

Tell me baby, can you dig your man?

“Jesus, that’s me,” he had said. He dropped the cookies onto the floor and then stood gape-mouthed and stone-flabbergasted as his friends applauded.

Four weeks ago his tune had jumped to seventy-three on the Billboard chart. He began to feel as if he had been pushed rudely into an old-time silent movie where everything was moving too fast. The phone rang off the hook. Columbia was screaming for the album, wanting to capitalize on the single’s success. Some crazy rat’s ass of an A & R man called three times in one day, telling him he had to get in to Record One, not now but yesterday, and record a remake of the McCoys’ “Hang On, Snoopy” as the follow-up. Monster! this moron kept shouting. Only follow-up that’s possible, Lar! (He had never met this guy and already he wasn’t even Larry but Lar.) It’ll be a monster! I mean a fucking monster!

Larry at last lost his patience and told the monster-shouter that, given a choice between recording “Hang On, Sloopy” and being tied down and receiving a Coca-Cola enema, he would pick the enema. Then he hung up.

The train kept rolling just the same. Assurances that this could be the biggest record in five years poured into his dazed ears. Agents called by the dozen. They all sounded hungry. He began to take uppers, and it seemed to him that he heard his song everywhere. One Saturday morning he heard it on “Soul Train” and spent the rest of the day trying to make himself believe that, yes, that had actually happened.

It became suddenly hard to separate himself from Julie, the girl he had been dating since his gig at Gino’s. She introduced him to all sorts of people, few of them people he really wanted to see. Her voice began to remind him of the prospective agents he heard over the telephone. In a long, loud, acrimonious argument, he split with her. She had screamed at him that his head would soon be too big to fit through a recording studio door, that he owed her five hundred dollars for dope, that he was the 1990s’ answer to Zagar and Evans. She had threatened to kill herself. Afterward Larry felt as if he had been through a long pillow-fight in which all the pillows had been treated with a low-grade poison gas.

They had begun cutting the album three weeks ago, and Larry had withstood most of the “for your own good” suggestions. He used what leeway the contract gave him. He got three of the Tattered Remnants—Barry Grieg, Al Spellman, and Johnny McCall—and two other musicians he had worked with in the past, Neil Goodman and Wayne Stukey. They cut the album in nine days, absolutely all the studio time they could get. Columbia seemed to want an album based on what they thought would be a twenty-week career, beginning with “Baby, Can You Dig Your Man?” and ending with “Hang On, Sloopy.” Larry wanted more.

The album cover was a photo of Larry in an old-fashioned clawfoot tub full of suds. Written on the tiles above him in a Columbia secretary’s lipstick were the words POCKET SAVIOR and LARRY UNDERWOOD. Columbia had wanted to call the album Baby, Can You Dig Your Man? but Larry absolutely balked, and they had finally settled for a CONTAINS THE HIT SINGLE sticker on the shrink-wrap.

Two weeks ago the single hit number forty-seven, and the party had started. He had rented a Malibu beachhouse for a month, and after that things got a little hazy. People wandered in and out, always more of them. He knew some, but mostly they were strangers. He could remember being huckstered by even more agents who wanted to “further his great career.” He could remember a girl who had bum-tripped and gone screaming down the bone-white beach as naked as a nuthatch. He could remember snorting coke and chasing it with tequila. He could remember being shaken awake on Saturday morning, it must have been a week or so ago, to hear Kasey Kasem spin his record as a debut song at number thirty-six on “American Top Forty.” He could remember taking a great many reds and, vaguely, dickering for the Datsun Z with a four-thousand-dollar royalty check that had come in the mail.

And then it was June 13, six days ago, the day Wayne Stukey asked Larry to go for a walk with him down the beach. It had only been nine in the morning but the stereo was on, both TVs, and it sounded like an orgy was going on in the basement playroom. Larry had been sitting in an overstuffed living room chair, wearing only underpants, and trying owlishly to get the sense from a Superboy comic book. He felt very alert, but none of the words seemed to connect to anything. There was no gestalt. A Wagner piece was thundering from the quad speakers, and Wayne had to shout three or four times to make himself understood. Then Larry nodded. He felt as if he could walk for miles.

But when the sunlight struck Larry’s eyeballs like needles, he suddenly changed his mind. No walk. Uh-uh. His eyes had been turned into magnifying glasses, and soon the sun would shine through them long enough to set his brains on fire. His poor old brains felt tinder-dry.

Wayne, gripping his arm firmly, insisted. They went down to the beach, over the warming sand to the darker brown hardpack, and Larry decided it had been a pretty good idea after all. The deepening sound of the breakers coming home was soothing. A gull, working to gain altitude, hung straining in the blue sky like a sketched white letter M.