Welcome to reviewsrevues

FB_IMG_1422454510428

Welcome to reviewsrevues.com.  If this is your first visit – where have you been?  I’ve been here since January 2015.  If you like what you read please consider clicking on the “Follow” button and then you will be notified whenever there is something new on here.   I live on the Isle Of Wight off the south coast of the UK (lovely place if you have never been).  I have been producing book reviews for websites and magazines for some time and now want a place where these can be gathered together.  I really will have a go at reading anything.  I love variation and will skip from genre to genre.   This is what you should find on the site:

  • Reviews of recently read books and pieces about books
  • Murder They Wrote – Crime book reviews
  • Female Fiction – (from a male point of view)
  • Kid-Lit (I was a Primary School teacher for many years and the habit of reading children’s books is hard to break!)
  • The Running Man (Adventure/Thriller reviews- so called because my local library, where I volunteer, uses a symbol of a running man for this fiction category.)
  • Real Life – Biographies, autobiographies, biographical fiction fits in here
  • 100 Essentials – Books and Music – Those that will have a permanent place on my shelves and hopefully in yours too!
  •  What I have been watching – TV, Films
  •  Music Now – What I have been listening to – the future Essential CD’s?

Use the indexes to find out what you may have missed.  There’s also a very good search option in the side-bar if you are looking for something specific.  Thank you for visiting reviewsrevues.com.  I hope you like what you find and that you come back soon.  Feel free to comment on any of the specific posts (you should find a Comment link underneath each post which will bring up the Comment box.)  I always reply……………….

Advertisements

The Confessions Of Frannie Langton – Sara Collins (Viking 2019) – A Murder They Wrote Review

imagesN8KPZ1YT

frannie

Here’s a debut out in April with a big buzz about it which appeared in many highlights of 2019 listings (including my very own Looking Back Looking Forward … blog post) so I was delighted to get the chance to read an advance review copy.

 This is Frannie Langton’s account of how she got away from being a slave at a sugar plantation in Jamaica in the first quarter of the nineteenth century and ended up in London on trial at the Old Bailey for the murder of her employers.

 It is very much a novel of two parts.  Although we know from the outset of Frannie’s predicament, the first half is set in Jamaica where as a child she was taken up from the plantation shacks to be a house girl, and then, after being taught to read and write by her bored mistress becomes a scribe and assistant for her master, Langton.  He is involved in disturbing experimentation to discover the difference between the anatomies of whites and blacks.

 Damaged by what she has experienced she turns up in London joining the household of one of Langton’s academic rivals where she is drawn by the attention paid to her by his French wife.

 Through a first- person confessional interspersed with extracts from the court case we begin to piece together what has happened, but very slowly, as Sara Collins certainly keeps us dangling.  This might actually frustrate some readers who’ll think they missed out on something important as part of the Jamaican narrative seems underwritten and only becomes significant much later on.  All is eventually explained.  Characterisation is rich and gutsy with some strongly developed minor roles.  Pace is generally good although for me it dipped in the early London sequence when the relationship between Frannie and Marguerite takes a prominent role.

 Readers loving Sarah Waters’ novels such as “Fingersmith”, “Affinity” and “Tipping The Velvet” should certainly be made aware of this novel and with Waters  moving towards more modern history in her novels in recent years there seems to be a gap which authors are keen to fill.  Two debuts from last year spring to mind Imogen Hermes Gower’s splendid “The Mermaid And Mrs Hancock” and Laura Carlin’s deliciously Gothic “The Wicked Cometh” which also has a female-female relationship as its focus.  I don’t think Sara Collins’ work is quite as good as either of these top-notch novels but it is a close-run thing with the Jamaican slave dimension adding another level of complexity and richness.  All in all, this is a superior historical crime novel that does live up to pre-publication expectations and should end up selling well.


fourstars
 

The Confessions Of Frannie Langton is published on April 4th 2019 by Viking.  Many thanks to the publisher and Netgalley for the advance review copy.

100 Essential CDs – Number 52– Will Young – From Now On

images

From Now On – Will Young (19 2002)

UK Chart Position – 1

willyoung1 

If twenty-three year old Will Young had not won the first series of ITV’s “Pop Idol” it is possible the whole reality talent show movement might have died a quiet death.  The format of finding a star on television had really faded since the 70’s and the heyday of starmaking duo of “Opportunity Knocks” and “New Faces” until it was revived in what initially seemed a small show “Pop Stars”.  This talent show format was intended to form a group and ended up with Hearsay and a totally unexpected huge sales volume for their first single “Pure And Simple”. 

willyoung2

Hearsay, the original “Popstars”

If it worked with a group it could work with a solo artist but when the first series of “Pop Idol” launched nobody was totally sure and nobody would have predicted that it would have spun off versions all around the world and still seventeen years later remain one of the most significant formats in UK television (and now through its overfamiliarity often reviled) with its own Saturday night juggernaut spin-off “ The X Factor”.  Will’s victory certainly got cash tills ringing with well over a million copies of his debut single sold in the first week, with two more number ones following on before the release of his first album in October 2002 which also topped the charts and followed up with a double A-sided single which reached number 2. 

willyoung3

And yet Will Young was not expected to win.  Throughout the competition the hot favourite had been Gareth Gates and the famous look of surprise on Will’s face when it was announced he had won was echoed on viewer’s faces around the country.  The debut single had to be ready to be released immediately, as this had worked so well in Hearsay’s favour and so the three finalists, Will, Gareth and Darius recorded their versions of “Evergreen” a song that seemed much better suited to Gareth’s voice.  Perhaps the tension that was reputedly there between Will and music mogul and benefactor of these huge sales, Simon Cowell, that had simmered throughout the show became something a little more serious from this point.  It seems to be a well established fact that Cowell wanted and expected Gareth Gates to win.  Although for a time there was room in the public hearts for both acts (with Will and Gareth topping the charts together with a song which appears on this album) it was Will’s career that had the longevity and by far the bigger sales.

willyoung4

 Will Vs. Gareth

The release of the debut album was thankfully not rushed in the same way as the single and it remains by far the strongest debut from a Simon Cowell helmed reality show winner.  Although other non-winners had launched strong first albums (including Olly Murs, Rowetta, Marcus Collins, Rebecca Ferguson)the actual winners had to put up with albums that were musically patchy, even if they were being launched on a worldwide stage, like Leona Lewis.  Will’s is, in my opinion, the best of the bunch.

willyoung5 

It opens with that double-sided huge hit taking up the first two tracks of the CD.  Sales of 1.79 million in the UK which still remains the highest debut single sales for a solo artist and makes these tracks according to a quick check at the Official Charts Company the 19th biggest selling single of all time fitting in between The Beatles “I Want To Hold Your Hand” and the hit-twice around of John Lennon’s “Imagine”.   It is the 5th biggest track ever by a solo male artist slotting in behind Elton John, Pharrell Williams, Stevie Wonder and Bryan Adams.  The UK in 2002 were undoubtedly swept up in Pop Idol fever and it’s hard to see it as a classic single compared to some of the others in the all-time Top 20 but I actually really quite like both songs.  “Evergreen” was written by the Swedish triumvirate Jorg Eloffson, Per Magnusson, and David Kreuger and had previously been an album track by Westlife and that is what it sounds like with its build and swell and key changes but there is something in Will’s voice that pushes this up to another level which is not there in the Westlife version.  The songwriters were part of what was known as the Cheiron song-writing team of around about a dozen who worked at the Stockholm studio and between them were responsible for countless pop hits in the 90’s and 00’s for artists such as Backstreet Boys, Britney Spears, Boyzone, Westlife, Celine Dion, Ace of Base who dominated charts in that era with songs that might have veered towards the formulaic at times but it was certainly a winning formula.

willyoung6

 

I like even more “Anything Is Possible” with its slicker soul sound and a lovely vocal performance from Will which saves it from a slight sugariness.  This was written and produced by former solo recording star Cathy Dennis alongside Chris Braide in composition duties and Oskar Paul in production duties.  A song was commissioned for the winners by Pop Idol head man Simon Fuller from the writing duo because of work they had done with S Club 7.  (Simon Fuller is perhaps the forgotten man in all this- at this stage Simon Cowell was just one of the judges, it was Fuller who had the control and held the purse strings).  This has a great example of the Will Young soaring note which he always does so well and has become a bit of a trademark for him. 

willyoung7Cathy Dennis in her solo hit-making days

Follow-up single “Light My Fire” was a cover version of the Doors song that would have been familiar to viewers of Pop Idol as Will had featured a version of it back in the Top 50 stage of the show.  This was very much a turning point for Will as Simon Cowell described the performance as “average” and a miffed Will answered him back.  This was the moment the public really got behind him and results published after the series had finished showed that at this stage the public had awarded him with the highest number of votes where he would remain until the Top 6 when he slipped to second place behind Gareth Gates in Abba Week and would remain behind him until the final when he emerged from the background to take the Pop Idol crown.  We viewers never knew it was as close as this and most would have assumed that Gareth and perhaps Darius were scoring higher with the public throughout than they actually were.  I did vote for Will all along (and had a considerably higher than average phone bill that quarter to prove it!)

willyoung8

 

So when looking for a follow-up to one of the biggest selling singles of all time perhaps a studio version of “Light My Fire” produced by Absolute was an inspired choice. It had been a hit song on five previous occasions, the original by The Doors had been a US#1 in 1967 but had to wait 24 more years before it became a UK Top 10 hit reaching number 7 in 1991.  Ironic cheesy retro performer Mike Flowers Pops took a version just into the Top 40 five years later and acts such as UB40 and Shirley Bassey had released it as a single without much success.  In fact the most successful chart placing up to this point had been disco singer Amii Stewart who had placed it in a medley with “137 Disco Heaven” and got to number 5 in 1979.  However, the version that Will’s took more of its inspiration was the cool jazz-enriched version by Jose Feliciano which had reached number 6 in the UK in 1968 and number 3 in the US.  Rich in acoustic guitar Will’s version is lovely and became his second chart-topper.

Cathy Dennis’s presence is there as songwriter and producer (one with Mike Peden)  of the next two tracks, one written with Robbie Williams’ hitmaker Guy Chambers and one with Will himself.  “Lover Won’t You Say” is another piece of chunky jazz-soul which has the kind of wistfulness I associate with cool bands such as Swing Out Sister.  “Lovestruck” with its acoustic guitar intro feels like a deceptively sweet simple song which has a warmth which makes it one of the highlights of the album. 

willyoung9

It was certainly one eye on the tills which decided upon single number 3  put out just before the release of the album.  Combine the fans of Will with those of runner-up Gareth Gates who had himself by this time also scored two number 1 singles.  The decision was to record The Beatles’ “The Long And Winding Road” was an okay one I suppose and it was almost a guaranteed number 1 which it achieved for two weeks.  It’s nice enough and on the few bits they sing together their voices harmonise nicely.  There are better cover versions of this song around however.

willyoung10

 

Once the album was released most people who forked out for it would have been highly likely to have had at least a couple of the three tracks already released as singles.  It probably wouldn’t have made much sense to put out a lot of singles after this, but around a month after the release the only track to be put out after the album’s release was the strong “You And I”.  It was packaged alongside a new track “Don’t Let Me Down” as the official Children In Need Single of 2002 and stalled at number 2.

willyoung11

 

After this rash of singles the last six tracks set out the future for Will Young including another two Cathy Dennis songs (one alongside Will again) and one with the legendary Burt Bacharach and three written by a team of Richard Stannard, Julian Gallagher, Dave Morgan, Simon Hale and Will Young.  What was evident right from this point was that Will was not going to be another pop puppet with strings pulled by management or song-writing or production teams.  He was going to be involved right from the start and that determination led to the odd story that he was prickly when in fact he was just keen not to go down some pre-determined route.  This also helped him be loved by the British public.  These are all consistently good pop songs with my favourites of the bunch being the Dennis and Bacharach combo “What’s In Goodbye”, which hides its complexity under a song which seems initially simple, as do many of Bacharach’s best songs and the jazz-influenced “Over You”.

 The final track seems the start of a new chapter for Will.  “Fine Line” is produced by Mike Peden and written with him alongside E and H Johnson and is an intense, dramatic, pretty uncommercial piece of mood music which has an exemplary vocal performance and seems to me to be a long way away from a duet version of “The Long And Winding Road”.  This is a mature, brave way to close the album. 

 Next time round the song-writing and production teams would be completely different (other than Will’s own involvement of course) but this closing track seems to me to be the one that sows the seeds for some of things we would hear musically and vocally in 2003’s follow-up album “Friday’s Child”.

From Now On is currently available from new  Amazon in the UK for £3.28  and used from £0.01.  In the US it is available new from $12.99 and used from $0.98.  In the UK it is currently available to stream from Spotify.

The Quaker – Liam McIlvanney (2018) – A Murder They Wrote Review

imagesN8KPZ1YT
quaker2

One of the more intriguing turn-ups in literary awards in 2018 came via the McIlvanney Prize given each year to the best Scottish Crime novel. In 2016 this award was renamed in honour of the writer known as “The Godfather Of Tartan Noir”, William McIlvanney who died in 2015. The previous winners since the rebranding had been Chris Brookmyre and Denise Mina and in 2018 the Prize went to Liam McIlvanney, William’s son for “The Quaker”.

There’s certainly no nepotism at work here as this is a very strong slab of crime fiction which fulfils the criteria perfectly and beat off the other shortlisted new titles by previous winners Brookmyre and Charles Cumming together with Lin Anderson.

This is Liam McIlvanney’s sixth publication which includes three fiction (a two parts of the way through trilogy begun in 2009) and three non-fiction works, two of these in conjunction with Ray Ryan. This novel is, hopefully the first in a new series, set in late 1960s Glasgow featuring DI Duncan McCormack, a member of the Flying Squad team who is seconded to an ongoing murder investigation to produce a report as to why a triple killer known as “The Quaker” has remained undetected. His interest in the case turns into a personal obsession whilst those above him want the investigation scaled down.

I like the feel of the period, clearly illustrated as a time when “the polis” operated with different standards. McCormack is a closeted gay officer at a time when homosexuality in Scotland still equalled a prison sentence and career ruin and this adds a fascinating dimension which stands this character out from the norm of crime fiction detectives.

The victims are also allowed to express their viewpoint in first person narrative sections, another thing which here is done well and adds to rather than impedes the flow of the piece.

I found this very readable and highly entertaining. I very much liked McCormack who is an outsider here in more than one sense and I would be very keen to read more novels featuring him.

McIlvanney currently works and lives in New Zealand but has convincingly conveyed the feel of Sixties Glasgow. There’s political incorrectness a-plenty with the nickname of a killer known to make biblical references a case in point. The novel was actually loosely based upon a real like killing spree by an individual known as Bible John, an undetected serial killer from the same time and location. Those who like their crime gripping and hovering around the edge of darkness should seek this out. I have limited experience of Scottish crime but this has certainly whetted my appetite to read more.
fourstars

The Quaker was published in hardback in June 2018 and in paperback by Harper Collins in Feb 2019. Many thanks to the publisher and Netgalley for the review copy.

God’s Own Country (2017) – A What I’ve Been Watching Review

watching

godsown

With the wind howling around the house in full throes of a storm the other night I fancied watching something which would match the bleakness going on outside.  I have seen this film before and it left a great impression.  I bought it on DVD just before Christmas but with a cat ensconced on my lap it was easier to watch it on Netflix.  It is also on the BFI Player where I viewed it the first time and where it was one of the most streamed films of 2018.

Set during an early springtime lambing season in a farm on the Yorkshire Moors, main character John Saxby (an outstanding Josh O’Connor most recently seen as Marius in the BBC adaptation of “Les Miserables”) is getting by through getting drunk each night and spending the day hung over and uncommunicative towards grandmother played by Gemma Jones and his ailing father, played by Ian Hart, who himself is reluctant to give up the running of the farm and vents this frustration onto his son. A young Romanian is brought in to help out with the lambing and sparks ignite between him and John.

godsown2

Josh O’Connor and Alex Secareanu

This is a love story but one carried out in the bleak harshness of the environment.  The two camp out on the Fells to be near to the sheep in a section reminiscent of “Brokeback Mountain” but this is a more stronger, more convincing film.  It also feels more grounded in reality, certainly for British audiences,  than a film that  tended to overshadow it in 2017, “Call Me By Your Name“.  The reason this works so well is largely through the dynamics between the two men, John, barely able to express himself or feelings other than lust and anger yet crippled by loneliness and Gheorghe thrust into this brittle set-up and accepting of everything because it is better than he had experienced at home.  You can certainly appreciate the appeal of the migrant worker played by Alec Secareanu and the hope that he brings with him.  It’s understandable how he can enrich the lot of those around him.

godsown3

It’s pretty much a four-hander and the performances are all excellent.  As John’s father’s health deteriorates Ian Hart’s performance becomes almost painful to watch and if asked to choose a career best performance from the ex-Duchess of Duke Street Gemma Jones between this and her excellent work on BBC TV’s “Spooks” I’d have to opt for the sublime, understated portrayal here.

 

Co-stars Ian Hart and Gemma Jones

True, this film might not be for everyone.  Some of the everyday scenes of life on the farm are brutal and challenging and there’s a couple of steamy sex scenes which may shock but are well within the context of the piece as shown by its 15 Rating (if they felt in anyway gratuitous I’m sure the rating would have been upped to 18).  It’s moving, satisfying and believably scripted.  It was written and directed by Francis Lee, whose sheer belief in his debut film is evident in every shot.  However, it is the performances that will stay with me, which definitely makes this a five star film for me.

godsown7

The stars with writer/director Francis Lee

God’s Own Country won the world crime directing award at the American Sundance Festival and garned a host of nominations worldwide.  Although Josh O’ Connor was singled out most often for acting awards, each of the four performances were up for awards.  In 2018 it was nominated for 7 Baftas of which it won Best British Independent Film with Josh O’Connor beating fellow nominee Alex Secareanu as Best Actor.  It also picked up gongs at the British Independent Film Festival, Chicago Film Festival, Edinburgh Festival, Empire Awards, Evening Standard Awards (where it won Best Film and Best Supporting Actress for Gemma Jones) amongst others including awards which highlighted the film’s LGBT+ issues.

godsown5Critical reaction to the film

fivestars

God’s Own Country was released in 2017 and is currently available on DVD.  It is also   available on Netflix as part of the subscription and can be rented on the BFI player

 

 

 

Funny Way To Be A Hero – John Fisher (2013) – A Real Life Review

realives

fisher

I think we readers can always appreciate a book which has become lifeblood for its author. Although this writer and television producer has gone on to write other works, which have largely spun off from this title this will always be his special project and his feelings for this work and the individuals who provided the reason for the work are only too apparent.

It was first published in 1973 as a record of Fisher’s heroes from the world of comedy and variety, the latter still then playing a part of the entertainment industry of the day, but nowhere near as prevalent as it had been in decades past. This is the 40th anniversary edition of the book, which has been reworked and added to with lucid and involving afterthoughts at the end of most chapters. The big difference here is that 40 years on most of the artists accorded their own chapter had died and since publication of this edition six years ago they have all departed, the last survivor being Ken Dodd who left us last year. Of those mentioned in passing I think only a couple of the young pretenders Jimmy Tarbuck and Roy Hudd remain. This makes this work an even more important historical record of what are fast becoming lost days than it was on first publication.

Over 32 chapters Fisher shines the spotlight on those individuals who shone brightest from the Victorian performer Dan Leno (now best known as a title character in a Peter Ackroyd novel and its 2016 film adaptation) to the comedy stars of the 60’s and 70’s who attracted huge television audiences. This book is weighty and is a quality production through and through full of sumptuous photos, often over a whole page and many of which come from the author’s personal collection.

fisher2Dan Leno

The earliest performers will nowadays mean little to the reader (although it is interesting to note the source of some of the catchphrases still in modern parlance). If there is a central character than that is perhaps Max Miller, a comic I know by reputation only. The performers seem to fall naturally into a pre and post Miller division. Comedy is very much of its time. I wonder if anyone today will find Arthur Askey laugh-out-loud funny, some of the artists here remained at or near the top until their (often premature) deaths, some found themselves having to diversify somewhat (eg: Max Wall into serious acting, Max Bygraves into singing and quiz shows) and others found their stars waning (eg: Benny Hill) as tastes changed.

fisher3

Fisher is very good at including personal anecdotes of a lifetime both of admiring many of these performers on the stage and working alongside them in TV production. His first contact with a celebrity was aged 11 in 1956 when he won a competition to meet Norman Wisdom during the interval of “Aladdin” at the London Palladium. This was the encounter which set the seal on Fisher’s future interests. Wisdom was charming and relaxed. How easily it could have gone the other way with an 11 year old descending during the valuable interval minutes for a performer on what was the first night of the run! Many stars both past and present would not have been as accommodating!

fisher4Norman Wisdom

The focus is on comic performers from variety rather than comic actions so no Carry On Gang (apart from Frankie Howerd and “Carry On Teacher” star Ted Ray), no Alastair Sim  etc, although he certainly does not ignore film performers, in fact some of these took their stage characters to become some of the top domestic stars of their day, credited with keeping the British film industry afloat- so take a bow Will Hay, George Formby, Gracie Fields and Norman Wisdom.

Obviously the reader is going to seek out their own favourites. One who certainly predated me but who could silence the near-riot atmosphere of Saturday morning pictures when I was really quite young much better than the more contemporary Children’s Film Foundation offerings was Arthur Lucan, better known as Old Mother Riley. As a young child I was equally thrilled and scared to death of Jimmy Edward’s headmaster character in the TV revival of “Whacko!” In real life he was a man whose struggles with his sexuality led his brother to say after his death in 1988 aged 68 “It all got on top of him at the end.” Later on, my comedy heroes became Frankie Howerd, Benny Hill, The Two Ronnies and I defy anyone who was around at the time to read the chapters on both Morecambe and Wise and Tommy Cooper without hearing the voices and laughing out loud throughout. (Why do I find Cooper’s “Glass, bottle! Bottle, glass!” still so funny?) I’ve actually discovered I have another book by John Fisher on my shelves, unread, his biography of Cooper, so when I get round to it I will certainly have a treat in store with this full-length expansion of the chapter here.

fisher5Tommy Cooper

It’s worth noting that the world of comedy and variety at this time was very male-centric and this is certainly represented here with only Rochdale’s Gracie Fields getting her own chapter. There is another section which groups together women who rose to as near the top as they could get in a difficult profession and here I found another real favourite, Hylda Baker, probably the Queen of the Catch phrase.

fisher6Hylda Baker

Thank you Mr Fisher for his real blast of nostalgia I found lurking on the public library shelves. It brought back the excitement of knowing there was a new Morecambe & Wise, Benny Hill or Two Ronnies show on TV that night and it also taught me a lot about those I dimly remembered or knew just as names from previous generations of comic fun.

fourstars

This edition of “Funny Way To Be A Hero” was published in 2013 by Preface.

100 Essential CDs – Number 69– Stevie Wonder – Hotter Than July

images

Hotter Than July – Stevie Wonder (Motown 1980)
UK Chart Position – 2
US Chart Position – 3

steviehotter

Four years on from his essential “Songs In The Key Of Life” opus Stevie Wonder put out his next proper studio album. The result, was for me, even better than what had gone before. “Hotter Than July” is the Stevie Wonder album that has given me the most pleasure over the years. Part of this might be because it was the first of his albums that I did not come to retrospectively, I bought it as soon as it came out but I think it is also because these ten tracks encapsulate the magic and genius of Stevie Wonder in a concise. meaningful way.

steviehotter2

Stevie had not just been resting on his laurels since “Songs In The Key Of Life”. I would have liked to have been a fly on the wall at the Motown Offices when he announced that his follow-up to this huge selling classic album would be a double album movie soundtrack for a documentary about plants. The film is long-forgotten but with the music Stevie came very close to producing another essential work. It is certainly something I would consider as being five stars but just misses out on being essential. It’s very nature as a soundtrack meant it was a combination of songs with vocals, instrumentals and repeated themes which, although at times absolutely terrific, did not hold together as well as the best of his studio recordings. What it lacked was a big hit single like he had when he later worked on “The Woman In Red” Soundtrack, a much higher profile film which gave him his biggest selling hit in “I Just Called To Say I Love You.” Nevertheless, “The Journey Of The Secret Life Of Plants” was not shunned by the record-buying public. In the US it reached number 4 in the album charts, number 8 in the UK. Every time I listen to it I am surprised by how good it still sounds.

steviehotter3

With “Hotter Than July” Wonder was back with a very commercial feel which produced a Top 5 and Top 20 hit in the US and really got the thumbs up in the UK with four top 10 singles including two which stopped just one place short of the top spot, very good going for a 10 track CD. And with these ten tracks we had very strong examples of what Stevie excelled at from uptempo funk, to social commentary, to political activism, to ballads which have become soul classics to those which edged towards the cheesy and as might be expected, everything was written and produced by the man himself. Technologically, he was once again using the latest equipment and although there was nothing radically different on this, his 19th studio album it certainly sounded fresh in 1980 and still, although not often critically cited as being amongst his very best, it still sounds good today.

Album opener “Did I Hear You Say You Love Me” is a strong uptempo slab of funk which recalls the danceability of “I Wish” and “Superstition” without being as compulsive. This eases into “All I Do” which was a song from the Wonder back catalogue. He originally wrote it alongside Clarence Paul in 1966, in the early days of Stevie’s career, when he was aged 15 as a solo track for Tammi Terrell, best known for her classic duets with Marvin Gaye. I have always really liked Stevie’s version with its star backing vocalists including Michael Jackson, Miami hit-maker Betty Wright and representing Motown’s rival Philadelphia Sound, two thirds of the O’Jays, Eddie Levert and Walter Williams. It’s a really romantic track which oozes sincerity and there’s a good sax solo courtesy of Hank Redd. The original Tammi Terrell version was largely unheard of until Motown began raiding its vaults in its “A Cellarful Of Motown” series which appeared in 2002. Her version entitled “All I Do (Is Think About You)” is exceptional and completely blew me away when I heard it hidden on this CD set of unreleased tracks. It has become one of my all-time favourites, and so whilst I still enjoy Stevie’s very much, it is definitely the original version which really hits home for me.

steviehotter4

Tammi Terrell

With “Rocket Love” Stevie certainly approaches the cheese counter in the way in which he had done previously with tracks such as “My Cherie Amour” and would certainly do again with “I Just Called To Say I Love You” but once again he really gets away with it and comes up with a track which I should write off as cheesy but find it impossible to do. This one has lyrics like “A female Shakespeare of your time with looks to blow Picasso’s mind” for goodness sake. And yet, from its “do do do” introduction it weaves a laid-back hypnotic spell and if lyrically dodgy it is musically lovely with an exquisite swirling string arrangement by Paul Riser.

steviehotter5

The next track “I Ain’t Gonna Stand For It” was surprisingly chosen to be the second single from the album in favour of later singles which if released earlier would have surely topped the UK charts and in favour of another couple which remained on the album and which could also have been big hits.  In fact, this is probably the track I like the least. As a single it got to number 11 in the US and one place better over here. It goes for a slightly hillbilly country and western feel, especially in the verse which gives the suggestion that Stevie’s vocal is not quite up to scratch, especially on the lower notes but it has a good humoured feel about it, which makes it pleasant but slightly throwaway, which is surprising that Motown on both sides of the Atlantic went with this track to follow up what has been the big opening hit from the album. The first side of the vinyl album ended with the much stronger “If You Could Read My Mind”. This is reminiscent of the salsa flavour that Stevie brought to “Another Star” from “Songs In The Key of Life”, which was a great track which just went on too long. This is shorter, tighter and effective, even though the song itself is not as likeable as “Another Star”. There is another memorable harmonica solo from Stevie, however.

steviehotter6

With the lead single “Masterblaster (Jammin’) Stevie was largely giving kudos to another performer, in much the way he had celebrated the jazz greats in “Sir Duke”.  Stevie had flirted with reggae before, most obviously with his hit track “Boogie On Reggae Woman” from 1974 but in 1980 Bob Marley and The Wailers had been Stevie’s opening act on his US tour (they hadn’t made the commercial breakthrough that they had throughout much of the rest of the world) and this track was largely Wonder’s salute to another musical visionary, Bob Marley.  He gets a name check, “Marley’s hot on the box” and the album’s title is also referenced within this song.  The song itself is optimistic and  uplifting “When you’re moving in the positive/Your destination is the brightest star.”  It’s as if amongst all the social issues raised within the music from both artists there comes a point when you just have to enjoy yourself and get dancing.  Marley did not work with Stevie on this track but his influence is there.  It’s a reggae flavoured track rather than a reggae track and that ensured its commercial success in the US who had to this point not fully embraced reggae.  In fact, Marley would never have a US pop hit single.  Stevie’s attempt to introduce his music to America reached number 5 Stateside and was a number 2 in the UK (held off by “Don’t Stand So Close To Me” by The Police).

steviehotter7

Stevie with Bob Marley

“Do Like You” is more, like “Isn’t She Lovely”, paternal pride, this time a song about Keita who was three at the time of this album’s release.  It’s a musical anecdote about his love for dancing, learnt by copying his big sister, to winning a school talent show.  It’s an enjoyable enough track and ends with Mummy’s vase ending up in pieces. From the light-hearted we move onto “Cash In Your Face” , the most serious track on the album where Stevie adopts the role of social commentator again in the guise of a potent funk track.  It’s about insidious underhand racism with the title providing a clever play on words “You might have the cash/but you can’t cash in your face”.  A track which still feels relevant today.  Stevie here plays two roles, the tenant and the racist landlord and it all works very well.

steviehotter8

“Lately” is a little gem of a track and the album’s highpoint.  This was the one everyone was clamouring for in the UK and Motown eventually relented making it the third single release and it got to number 3 (I still say it would have topped the charts if it was put out straight after “Masterblaster”).  In the US something went very awry because it did not become a hit.  It’s a majestic, superbly structured sad soul ballad about facing up to emotional insecurity and jealousy within a relationship.  The piano work is beautiful and there is some real pathos about a blind man writing such lines as “But what I really feel my eyes won’t let me hide.”

steviehotter9

Perhaps the biggest surprise came at the end of the album.  Stevie had been a leading campaigner to recognise the birthdate of Martin Luther King as a US national holiday and here he advanced his cause considerably worldwide by putting the campaign to music.  The nature of the track “Happy Birthday” with its sing-along chorus may have been felt to have clouded the seriousness of the issue lying behind the song, the non-recognition of a man who had done so much to further the civil rights movement.  However, annoying the song might get it was effective in getting a message across to a wider audience.  In 1983 Martin Luther King Day was officially agreed upon for a  mid-January celebration and the first took place  (it wasn’t exactly rushed in) three years later.

In fact, the message would have hit home more outside his homeland as it completely failed to make the charts as a single in the US.  Perhaps a fourth single was asking too much of an American record-buying public who had already bought the album in droves.  Over here we loved it and it once again took Stevie to number 2 in the UK charts (this time it was the less worthy “Green Door” by Shakin’ Stevens which prevented Stevie from getting his first UK solo number 1 single during the summer of 1981).  I think we were looking for a viable alternative to the traditional “Happy Birthday To You” and both this and Altered Images’ 1981 hit with the same title which followed pretty hot on the heels of Stevie’s tracks provided this.  For the past nearly 40 years both tracks have provided radio and mobile DJ’s with the opportunity to dedicate a song to someone’s special day.  As an example of Stevie the political activist it fits nicely into the Wonder canon, but I’m not sure if it is going to be too many people’s favourite song by him, but it certainly gets people singing along.

steviehotter10

Despite welcoming Stevie into the 80’s, his third decade of hitmaking, this was the last time he produced an “Essential” studio album.  Much of the 80s were taken up with compilations or soundtrack work.  1985’s “In Square Circle” was a solid, enjoyable release (which did feature in “Overjoyed” one of my all time favourite tracks).  The nearest he has got to really blowing me away again was in his five star 2005 album “A Time 2 Love” in which he showed he was still a contemporary, extremely relevant performer.  Despite this being so good it was the last Stevie studio album to date.  Now in his late 60’s releasing new music is not so hot in his priorities.

steviehotter11

I really enjoy listening to “Hotter Than July” and more than any other Wonder album it takes me back to the time when it was released.  My only gripe is that my CD copy suffers from somewhat muted sound probably because of the way it was taken from the masters in the early days of CD releasing.  I’m sure the version currently available from Amazon which states it is “Remastered” has put this right.  It’s not really an issue in itself because I just turn the sound up a notch but these tracks don’t work so well in general playlists on the I-Pod.   I do have “Lately” on there however and just have to crank up the volume each time it comes on.

Hotter Than July Songs is currently available in the UK from Amazon for £5.69 and used from £1.88.  In the US it no longer seems to be on general issue and is available, other than as an impor, used from $3.89 but it is there as a download.  In the UK it is available to stream from Spotify.

 

 

 

 

 

 

 

The Devil Aspect – Craig Russell (Constable 2019) – A Murder They Wrote Review

imagesN8KPZ1YT

devilaspect

I have not read Craig Russell before. Hailing from Scotland he has published five novels in his post-war Glaswegian series “Lennox” and seven set in Hamburg with his detective Jan Fabel taking centre stage. This is a stand-alone which could, especially with Hollywood interest in the film rights, be a big-selling title.

Set in Czechoslovakia in 1935 and it wasn’t long before I could appreciate Russell as a real story-teller with his fiction enriched by cultural stories, myths, urban tales and localised legends. Main character Viktor Kosarek begins work at the Hrad Orlu Asylum For the Criminally Insane housed in a foreboding castle. The Asylum houses just six inmates, the most dangerous and criminally insane of the lot. Dr Kosarek has a theory that pure evil lurks in an obscure part of the psyche and this “Devil Aspect” can be brought to the surface during therapy and then exorcised. Meanwhile, there is a killer stalking the streets of Prague viciously dismembering whilst clad in a blood- stained leather apron.

Russell is very good at cranking up the fear factor and tying it back to the darkness in our pasts. There’s even a scary clown, for goodness sake! The technique of the main character dealing with the six prisoners in turn and getting their backstories through the guise of therapy starts off extremely effectively but perhaps six were a little too many as it was here I found myself losing a little interest amongst their catalogue of hideous crimes.

Apart from this minor gripe the plot is handled well. I never saw what was coming with any of the twists in the tale. It is extremely dark and occupies the space where crime and horror blend which would make it a potent and highly commercial brew for a film adaptation.

Although at times some of the revelations seem audacious and over-the-top, Russell certainly gets away with it.  This is because of his seamless research, a good feel for the period and that enrichment of legends from the past juxtaposed with the psychological theories in his novel’s present which all builds up the spine-chilling elements.  This is a gory read, but a gripping one.

fourstars

The Devil’s Aspect is published in March 2019 by Constable in hardback.

Transcription – Kate Atkinson (2018)

 

transcription

Kate Atkinson’s previous two novels have been outstanding achievements based around the time of World War II.  The first, “Life After Life” played with structure in a way in which I (and many others including awards committees) found glorious and the second “A God In Ruins” had a more traditional narrative using characters from its predecessor.  Here, the author has kept pretty much within the same time-frame but produced a stand-alone novel.

 We meet main character Juliet Armstrong in two concurrent narratives ten years apart.  In 1940, as a young typist she is recruited to work for MI5 to produce transcripts of conversations between German sympathisers and in 1950 she finds she hasn’t fully escaped her wartime past whilst working for the BBC as a producer of Schools Radio programmes.  Atkinson gets the feel of London in both the war and post-war years perfectly, perhaps unsurprisingly as this is her third consecutive novel set in a period she must have certainly immersed herself in over the last few years.

 Juliet is involved in spying so the elements of who is finding out about who and who can be trusted provides a mystery element to the story which drives both narratives.  As always, characterisation is very strong and is written with the confidence, authority and playfulness that I have come to expect from this author.

It is a strong novel but I don’t think there is quite enough in the plot for me to consider it an excellent one, so no unprecedented three five stars in a row for Kate Atkinson.  I do very much like the juxtaposition of the war-time MI5 and post-war BBC and both work convincingly within the plot.  It does provide a fascinating insight into the workings of the secret service during the war, here involved in tasks which seem mundane but which can suddenly turn to the life-threatening and chilling and it is great to have Juliet’s back-room girl’s valuable contribution to all this given some limelight.

fourstars

Transcription was published by Penguin in September 2018.  The paperback version is due in  March 2019

The Chalk Man – C J Tudor (2018) – A Murder They Wrote Review

imagesN8KPZ1YT

chalkman2

“Every kid wants to find a dead body. About the only thing a twelve year old boy wants to find more is a spaceship, buried treasure or a porn mag.”

These sentiments expressesd in CJ Tudor’s debut remind me very much of “Stand By Me”, the film based upon the short story by Stephen King and the King feel looms large throughout this book, there is even a front cover recommendation from the man himself who has obviously noted that he and Tudor are pulling in the same direction as he states; “If you like my stuff, you’ll like this.”

But don’t think this is some Stephen King rip-off as it is has an identity all of its own. For a start it is British set in a town called Anderbury located around 20 miles from Bournemouth. We have a narrative of two time spans – 1986 with the aforementioned twelve year old boys and thirty years later when a discovery made back then in the woods is still holding the main characters back.

I was really looking forward to the 1980’s setting and I think the author does a pretty good job of conjuring up what it was like to be twelve in the mid-80s but I think I was looking for a stronger feel of the period, but then again I suppose we can’t expect this particular group of adolescents to be too aware of what was going on around them, they are just living their last innocent summer before some horrific realities of life kick in.

What the author does do very well in her debut is to keep a tense atmosphere throughout. A terrifying incident at a fairground packs one hell of a punch early on and from then on we know that lives will never be the same again. I like the ambiguity in the title referring both to chalk figures used by main character Ed and his pals to communicate; to drawings which have resurfaced in the later narrative strand and to the nickname of an albino teacher who makes his presence felt in the summer before he joins the children’s school. This all adds to the richness and edginess of the book.

Characterisation is memorable, the resolution perhaps not as satisfactory as the build- up but I often feel that way about crime novels. I really like the idea of us having a budding Stephen King here in the UK and I could also feel the influence of another of the author’s literary heroes, James Herbert. This is well-written edgy crime, that never allows the reader to truly relax and which does hover towards horror on quite a few occasions. I’m not surprised that it has appeared on a good number of “Best Of 2018” lists.
fourstars

The Chalk Man was published by Penguin in 2018.

Snap – Belinda Bauer (2018) – A Murder They Wrote Review

imagesN8KPZ1YTsnap

One of the featured titles in my “What I Should Have Read In 2018” post which I’ve now put  right by making it my first read of 2019.  This attracted much publicity through its long-listing for the Man Booker Prize in a rare nod towards commercial crime fiction and recently took home the Crime/Thriller Book Of The Year at the National Book Awards.  The buzz around the title made it too good to miss, with expectations that this is going to be a top-notch title.

I have read Belinda Bauer before, her debut “Blacklands” was a very dark novel which certainly impressed me but I haven’t got around to reading any of her six publications between that and this.

I did have those high expectations which for me, is not always a good thing, as they tend to make me more disappointed with a book which doesn’t fully hit home than I would otherwise be.  The title refers to instant decision-making, also not always a good thing and which can have long-lasting repercussions.

A pregnant woman whose car has broken down on the motorway leaves her three young children in a car on the hard shoulder to seek a phone and is never seen alive again.  The plot focuses on this disappearance and her teenage son’s attempts to come to terms with her fate over the next few years.  His is the most vibrant characterisation in the novel as he attempts to hold the family together, tries to solve his mother’s case and becomes notorious around the Tiverton area where they live for his own crime sprees. 

It is a compelling read which I enjoyed immensely but I’m not sure how well it stands up to analysis as a crime novel.  A lot here hinges on coincidence (and I do acknowledge that a lot of real life crime is solved through coincidence) and some characters’ actions seem questionable, but then perhaps we’re back to that snap decision aspect again.

Given that the novel is about a horrific disappearance it is nowhere near as bleak as I was expecting.  Bauer’s writing style is lively and there is often humour and sharp observation which here works very well.

This book provided a very good start to my 2019 reading and hopefully this year I will be able to delve into Belinda Bauer’s novels I have missed out on.  She is a very good writer, confident in her genre but (and I think it’s down to those pesky expectations again) this didn’t quite blow me away in the way I was expecting it to.

fourstars

Snap was published in 2018 by Bantam