Welcome to reviewsrevues

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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……………….

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Lethal White- Robert Galbraith (2018) – A Murder They Wrote Review

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Why exactly do people read the crime novels J K Rowling writes as Robert Galbraith? Is it for the intelligently crafted plot and the satisfaction of the tying up of the interweaving threads of a detective novel? I suspect not, they are read more for the dynamics between the two main characters, private detective Cormoran Strike and his business partner Robin Ellacott both here on their fourth outing.

If this is the case then this lengthy work will delight as there is more relationship than crime plot going on here. I was very happy that it picks up where “Career Of Evil” (2015) left off, at the wedding of Robin and her disappointing fiancé Matthew. Cormoran had stumbled into the wedding proceedings leaving the “will she/won’t she?” aspect very much in the air last time round and here in a Prologue the story we all wanted to read about is resumed. I’m not plot spoiling by saying the wedding goes ahead but given the circumstances the marriage might not last that long. I applaud JK Rowling for beginning the novel at this point.

Following this Prologue we fast forward a year and Strike’s agency is doing well after its high profile cases featured in the previous novels and some of the work is having to be shared out to sub-contractors.  Robin and Cormoran get involved in a blackmail scenario involving a government minister with Robin going undercover at the Palace Of Westminster.  Strike is perturbed by a distressed visitor to his office with a tale from the past which may be linked to the blackmail attempt. The plot simmers along nicely and I do think the balance between a character led narrative and any actual action works well and would please more of her readers than it would disappoint. It’s a long time before an actual corpse makes an appearance and the whole thing is a lot less gruesome and more understated than in the last two novels. I can appreciate this balance as for me the more plot-driven second novel “The Silkworm” (2015) is the weakest of the four and both through her writing and the TV adaptations the two main characters are so strong that I found myself really relishing the scenes when they are together.

This book achieved somewhat mixed views on publication mainly concerning its length. I actually found that there was enough to keep me from grumbling about its number of pages. It could have been tightened a little but that is the case for most books which come in at over 600 pages in a hardback edition. On reflection, I feel I should have cared more about the “whodunnit” aspect of the novel, this is crime fiction after all, which is why this is not quite up to “Career Of Evil” standards but it is a close run thing as we are provided with another highly enjoyable read. “Career Of Evil” was more effective in ramping up the tension. I feel also that Strike’s London has come across stronger in previous novels but this doorstep of a read certainly shouldn’t put people off this series of novels and those that have read the four will be eagerly anticipating the fifth- myself included.

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Lethal White was published in hardback by Sphere in September 2018. The paperback edition is out this week on 18th April.

The Taking Of Annie Thorne – C J Tudor (2019)

 

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I read C J Tudor’s critically acclaimed debut “The Chalk Man” (2018) earlier this year.  It was a book that became a word of mouth hit and I realised I was missing out when I saw it appearing on a number of “Best Of The Year” lists.   I really liked the tense atmosphere she created throughout and the touches of horror and these aspects are all present and correct in her second novel.

I began this as an exercise in listening.  A free month’s trial for Audible was initiated when I saw this was available so soon after publication.  It is narrated by Richard Armitage who has a very listenable voice and despite me never being successful at committing to audio books (Susan Hill’s slim “The Printer’s Devil Court” being the only one I’ve managed to listen to all the way through) I was determined to let Tudor’s easy approachable style be read to me.  I was enjoying the narration very much but it all just takes too long.  I don’t have ten hours listening time and because audio is new to me I have to really concentrate on it (of course, being male means multi-tasking and doing something else whilst listening is out of the question!).  I was also having to take notes at the end of every chapter, realising how much I must flick back in a physical book to check things.  I did, however, get well over half-way through and then I discovered a hardback copy in the library.  I did try to resist but couldn’t so checked it out and finished it off.  (I’ve also just cancelled my Audible trial- once again I’ve tried and been found wanting.)

The novel is set in the ex-mining village of Arnhill in Nottinghamshire, a location similar to where the author grew up.  Like “The Chalk Man” there are two time zones, a present day narrative and one set in 1992 when the main protagonists were in their teens.

There’s a grisly opening of a discovery of bodies in a cottage (which certainly spooked me listening to it) then it settles into a plot where Joe Thorne returns to Arnhill and engineers himself a teaching post at his old school.  He has come back in an attempt to put to rest trauma in his past- the disappearance and eventual death of his eight year old sister which occurred when he was fifteen.  The combination of the crime novel and horror is not as balanced as it was in “The Chalk Man” with the latter taking precedence.  Horror writing gives the text an openness which the crime novel with its demands to be tied up neatly to provide a satisfactory experience tends not to do.  The unexplainable horror touches comes from the old pit itself which has a history of being involved in disappearance and death and which commands a dark presence over the plot.

 If anything, the tale here is darker than “The Chalk Man”.  There is the odd flash of humour but this is generally black, bitter and barbed.  This has the effect of not making this novel seem as multi-layered nor as rich as its predecessor where the language felt more vibrant and less on one level.  Also readers who need to like their characters will struggle as not even main protagonist Joe comes across as having that many redeeming features.  There are aspects to the plot, particularly with regards to backstory events in Joe’s adulthood that seem underwritten and not as convincing.  As a result I did not feel as drawn into this world as I had with “The Chalk Man” but this is still an involving read, showing once again the author’s skill with tension and building up a creepy atmosphere.

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I read the Michael Joseph published hardback version of “The Taking Of Annie Thorne” which was published in February 2019.  In the US it has been published as “The Other People”.  A paperback version is due to be published by Penguin in July 2019.

Line Of Duty – BBC1 (2019) – A What I’ve Been Watching Review

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I was a bit late to the party with this, which I can now acknowledge as one of the best ever police dramas on British TV. I don’t know how the first few series passed me by and it was really only when the fourth series starring Thandie Newton started gripping the viewers of “Gogglebox” and picking up awards that I realised I had missed out on something special. Thanks to Netflix which has had all the series available to view I have caught up, bingeing on episodes (unusual for me) because I couldn’t wait to find out what had happened.

I’m glad I watched this first episode of Series 5 before Friday’s “Gogglebox” as this was heavily featured with the sofa-sitters open-mouthed at the twists, even on occasions when even I’d rumbled what was going on, they were shouting at their TVs in amazement at the proceedings.

Since the last series which first aired in March 2017 writer Jed Mercurio’s profile has really ascended due to his gripping of the nation over 6 successive weeks in the late summer with “Bodyguard”, a huge ratings hit, but this is very much his bread and butter work, a less showy, superbly plotted and scripted tense hour which is a great antidote to the general cosy feel of Sunday night TV.

Its main quality is its sheer unpredictability which over the five series has seen astounding plot developments no-one could possibly see coming, major characters bumped off and the best scripted police interviews ever. AC-12 is the department set out to investigate police corruption and its three leading lights prove a tight ensemble which is another hallmark of the show.

 

Neither Vicky McLure as Kate nor Martin Compston as Steve are especially familiar to viewers in other roles and so fit in perfectly as the young guns in the AC-12 department overseen by Adrian Dunbar as Hastings.  Compston is particularly excellent as the tenacious but increasingly world-weary Steve whose position in the Department we’ve invested in since the very beginning.

The opening twenty minutes or so are always essential in a Mercurio plot (remember the bomb  on the train in “Bodyguard”?).  It’s often a big set piece out from which ramifications continue to rumble for the whole series.  Here there is a hijacking of a lorry stuffed with drugs under police guard and one of the perpetrator’s actions towards an injured officer causes questions to be asked.  There is a leak somewhere and AC-12 are out to plug it.

Plot threads from previous series are picked up efficiently.  Member of the team and series regular Maneet was seen in a couple of compromising situations in the last series before taking early maternity leave.  Now back at work suspicions have not gone away with astounding consequences.  Almost everyone would have been caught out by at least one of the three or four major twists in this opener and it is this which is likely to keep the 7.8 million (making it the most watched TV show of the year so far and registering its highest ever viewing figures) who tuned in for the first episode on the edge of our seats on a Sunday night to find out what this superior television event has in store for us.

fivestarsLine of Duty Series 5 is shown on BBC1 on Sunday evenings at 9.00pm. The first episode was transmitted on 31st March and is currently available on the BBC I-Player.

 

A Stranger City – Linda Grant (Virago 2019)

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I read and enjoyed Linda Grant’s last novel “The Dark Circle” back in 2o16.  It was set largely in a TB sanatorium in a post-war Britain very much on the cusp of a modern age as the richly drawn characters awaited developments which would cure them and allow them back into the society their illness had removed them from.

 The author’s latest places us into contemporary London where change is also anticipated and it is not good news as the city awaits the effects of Brexit.  It is a disorientating time in the city for the characters and becomes increasingly so as deportation trains begin to rattle through the night, “illegals” are held in prison ships and one sequence set in a dis-located part of London feels like Alice down the rabbit hole.

 This shifting uncertain London shimmers in the background of a plot with a mystery story at its heart.  A suicide off London Bridge by an unidentified woman occurs on the same evening a documentary maker witnesses conflict between a man and an Irish woman on a train.  This woman, a nurse, also disappears but the power of social media ensures she is identified and cannot stay missing for too long.  The contrast between the two in the same location leads the film-maker to produce a television programme in an attempt to uncover the dead woman’s identity.  The people caught up in this story are the main protagonists of the novel.

 As in the last publication characterisation is here a strong point, although the shifts of focus means that the reader is kept on their toes.  Nothing feels totally secure in Grant’s London as the novel shifts, undulates and unsettles throughout.  The real and the fictional blur from a character caught up in a terrorist incident on a London bridge to a nation where the tiniest error on paperwork can lead to expulsion from a country keen to rid itself of those it feels no longer belongs.  Concealing oneself in an attempt to fit in and disguise are themes developed within the novel.

It is very well written and feels more complex than “The Dark Circle” but is every bit as readable.  There is a freshness in the language which makes it feel it is produced  by a writer with a definite finger on the pulse.  It is another solidly impressive, intelligent work from this author whose reputation continues to grow.


fourstars
 

A Stranger City is published by Virago in hardback on  2nd May 2019 .  Many thanks to the publishers and Netgalley for the advance review copy.

Breaking Down The Walls Of Heartache – Martin Aston (2016) – A Rainbow Read

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Treading similar ground to Darryl W Bullock’s “David Bowie Made Me Gay” (2017) this was published first and is subtitled “How Music Came Out”.  It’s an exhaustive study of LGBTQ+ music and musicians from the 1920s to the present day.  Martin Aston, who was written books on Pulp and Bjork is a celebrated music journalist and has certainly carried out his research here.  I chose to read it to give an alternative viewpoint to Bullock’s study and it does feel more global in its outlook as we move to the present day where you can sense Aston’s greater enthusiasm for the subject matter and an attempt not to leave anyone out which can make it feel, at times, sketchy.

 Although in this work there are probably far more names and the scope is wider I did prefer the Bullock book which feels more of a celebration.  There’s more of the author  within that work right from the title onwards, Aston’s feels more objective throughout and makes little comment on the quality of the music- good or bad.  Whereas I finished the first publication with a strong sense of wanting to discover some of these trail-blazing artists I finished this one with a sense of being overwhelmed and being bombarded with too many names.  Also oddly, Aston’s title references a Northern Soul favourite by Johnny Johnson and The Bandwagon who have no part to play within the text.  I’m sure there could have been more relevant song titles to use.

 But, and as the more academic work, this has a significant part to play in the recording of LGBTQ+ history.  Aston seems stronger on trans artists and in unearthing the obscure from a 50s lesbian Rockabilly Group the Roc-A-Jets who barely made it out of Baltimore, to 60s Brit-pop singer Polly Perkins, touted as a rival to the Dusty/Cilla/Sandie triumvirate but now best remembered for her role in ill-fated BBC soap El Dorado.  I may be wrong but I don’t recall these artists getting as much focus in Bullock’s book and there are many others like this.

Thinking about the two books I considered which would be the one I would most likely read again for pleasure and the Bullock work has the edge.  I think some kind of playlist suggestions or select discography from what really excited Aston or what he thought most significant would have made this seem more personal, especially as in this age of Spotify it would be so easy for readers to rediscover the obscure.  This is, however, a valuable examination of the development of an important aspect of LGBTQ+ culture.

threestars

  Breaking Down The Walls Of Heartache was published by Constable in 2016.

100 Essential CDs – Number 58– Will Young – The Hits

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The Hits – Will Young (19 2009)
UK Chart Position – 7

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It might seem odd to those of you who have been following my Essential CD recommendations that this particular artist has three albums within the listing putting him on a par with some real Titans of popular music when he can be considered as just  a singer coming from a TV talent show who hasn’t so far achieved the worldwide success of some who followed this route and doesn’t possess the big voice, big image or formidable creative talent that those who appear more than once on my Essential CD recommendations tend to have. So, the question may very well be: Why do I like Will Young so much to feature three of his albums on my list?
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First and foremost it’s the voice which has a warmth and sincerity which makes every listen an enjoyable experience. It’s also his unwillingness to compromise in an industry full of compromises. I believe both in his music and his belief in it. He chose a route to stardom which could have placed him very much into a pop puppet role but he has managed to forge his own identity in a way in which others that have come after him have failed to consistently do. As much as his music, however, it is what Will Young stands for and his decision to come out at the height of his fame within a market which was aimed towards young girls who would consume his music with the hope that one day they could be Mrs Will Young.

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It’s easy to forget, now that the world has moved on as much as it has because of people like Will what a decision this was. It happened right at the start of his career when his debut single “Evergreen” was at the top of the charts with an interview given to the News Of The World. This kind of revelation had largely been to this point as a result of “outing” by the press who couldn’t help but resort to sniping and bringing in “gay shame” and “twilight worlds” and “double lives” From the same section of the pop industry Boyzone member Stephen Gateley had largely been coerced to come out as the story was going to be run by the tabloid press anyway, and he had the other band members as support rather than being a solo artist. Will’s response was refreshing, telling a major newspaper not known for its tolerance of alternative lifestyles; “For me it’s normal and nothing to be ashamed about. I’m gay and I’m comfortable with that. I really don’t know what the fuss is about.” And with this statement the world shifted a little bit.

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The BBC News website had a forum as to whether readers thought this announcement would affect Will’s career. It makes interesting reading 17 years on. Just a couple of snippets; Rachel from the UK said “Keep buying his records everyone; let’s keep him at number 1 because he certainly is!!” Johnny G from Leicestershire made an attempt at a prophecy “Now he’s had his number one I give him precisely three more weeks of fame before his second follow-up single fails to make the top 40 and he is forgotten forever.” Erik gave a viewpoint from South Africa “Hello people wake up! Grow up and get with it. Reading some peoples comments on issues like that makes me often wonder, with what people really concern themselves.” Julia saw herself as a representative for the “young disappointed female fans” which are mentioned frequently with her comment; “Girls buy all the records and girls don’t fancy gay men. Boy George was an exception just because we liked his makeup”. (I love that one!) There are the inevitable “I’m not homophobic but….” This was a big comment board and the gist of it was that people didn’t think it mattered one way or another which must have been an eye-opener for the popular press who certainly at that point considered it did matter and also the record industry itself who was all for keeping gay artists in the closet in case it damaged their sales. There were more voluntary revelations rather than forced outings in the years to come.  Even the more conservative America where it seemed to matter a great deal caught up when a decade after Will’s announcement Adam Lambert, best known here as some-time front-man for Queen became the first out gay artist to top the US album charts.  Now, at long last, within mainstream pop music at least, we seem to be at the point that it doesn’t matter and recording artists are free to make statements regarding their sexuality without the media furore it would have traditionally caused and I think we have Will Young in the UK to thank for this.

willhits7Will with “Strictly” dance partner Karen Clifton

Not everything has been golden for Will, he has made some decisions which were a little off, most particularly his decision to do “Strictly Come Dancing” and then pulling out after what seemed like a hissy fit over comments made by Head Judge Len Goodman, the circumstances of which as reported by the popular press did make him seem that he just wasn’t going to play if he wasn’t going to win. Not all his acting roles have made the impression anticipated, although he certainly won critical plaudits for a role which seems perfect for him in stage productions of “Cabaret” playing the part made famous in the movie by Joel Gray.

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As a vocalist he has provided me with enough joy that he deserves a greatest hits package on my Essential CD listing alongside his first two studio albums “From Now On” and “Friday’s Child”. I have gone for his first hits compilation from 2009 released after his first four studio albums and which reached number 7 in the UK charts. I probably could have just as easily gone for the later 2013 “The Essential” which reached number 15  but I don’t own that one. That was a parting of the ways compilation with his record label. “The Hits” is better for me in that it is a mid-career retrospective. It says things have been good for the past seven years but there is still good stuff to come.

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Obviously there is going to be an overlap with the first two albums which had been rich in hits so I’m largely discounting the first six tracks which I have dealt with elsewhere. That still leaves us with six tracks spread evenly between “Keep On” and 2008’s “Let It Go” together with the hit collection staple, the two new bonus tracks one of which was released as a single. That track “Hopes And Fears” became his least successful single to date and did not trouble the UK Top 40.  It isn’t exactly vintage Young written by two members of Phantom Limb who supported him on tour.  The other original track “If It Hadn’t Been For Love” which has Will in his tender, vulnerable mood and has a great opening line “Romeo would still be breathing/If it hadn’t been for love“.  Obviously it was decreed that a more uptempo single was a stronger choice to launch this album, but for me this is the better of the two tracks.

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There are some notable omissions on this album.  It seems strange that someone would put out a Hits compilation and not include songs which reached number 1, but that probably would have  given an undue bias to the earlier stages of his career so on this album there is no “Long and Winding Road” his chart-topping duet with Gareth Gates nor one side of the multi-million selling debut double A-sided single, the very likeable “Anything Is Possible” .  His 2002 number 2 double A-sided single is also represented by one track the stronger “You And I” rather than “Don’t Let Me Down”.

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Studio album number three “Keep On” kicks off with perhaps his rockiest track to date 2005’s “Switch It On” which got to number 5 which showed his willingness to diversify but it is a little one-dimensional to me, despite some good rhythm work.  I feel more at home with the other tracks chosen from this album the deliciously tender “All Time Love” which as a single got him back into the Top 3 for the last time to date.  A song rich in melody with a convincing performance could still charm the British singles buying audience in 2006.  Just as good is “Who Am I” which once again brings back the songwriting skills of Eg White who wrote his best track “Leave Right Now”.  This is written in collaboration with singer/songwriter Lucie Silvas, an under-rated performer in her own right.  As the third single release from this album it perhaps was too much to expect this to be a vast hit but it actually became the first Will Young single not to make the Top 10 when it stalled at number 11 but that is certainly not a reflection of the quality of the track.

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2008’s “Let It Go” has three tracks selected for this album the mid-tempo gem that is “Changes” which boasts a great build into the chorus and is full of a stirring optimism with a great vocal performance.  It was the hit track of the album and reached number 10 as the lead single. I really don’t know what happened with the other two single releases from this album as they both underachieved with “Grace” getting a number 33 placing and the title track missing out on the Top 40 for the first time in his career.

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Following the release of this album fans responded very positively a couple of years later when 2011’s “Echoes” gave him his third number 1 album despite not being as strong as what had gone before.  This feat was achieved again with his latest album “85 Percent Proof”  released on the Island label.

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And just this week the announcement was made that Will was back with a new single, with another of his top  quality stylish videos which have been so much a part of his career, once again not one to shy away from the controversial Will adopts a series of disguises, a sailor, a biker, a businessman which might make it sound like a twenty-first century Village People but it’s not tacky even though within each of these disguises he strips!  The single “All The Songs” will be his first release on the Cooking Vinyl label and will be followed by album number 7 “Lexicon” due in June which should I imagine see him back in the upper reaches  of the charts.  In the meantime he has been involved in an impressive podcast, which actually got me listening to podcasts, “Homosapien” which he presents with Chris Sweeney.  Not bad for a boy from a talent show who many predicted would be a five minute wonder, eh?

 

The Hits is currently available from Amazon in the UK for£2.75 and used from £0.20.  In the US Amazon have it for $11.98 and used from $1.08.  In the UK it is available to stream from Spotify.

 

 

The To Be Watched List 2 – A What I Will Be Watching Review

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Yesterday the Rugby Six Nations drew to a close with Wales victorious.  One of only two annual sporting fixtures I watch (the other being Wimbledon) this has dominated my viewing over the last few weekends meaning that the time on Saturday and Sunday I normally spend catching up with what I haven’t watched during the week has not happened and my Sky Box is beginning to groan under the weight of unwatched shows (well, it’s got up to 60% full and things start to get stressful when it creeps up more than that).  So either I’ve got to start deleting or settle down and get that percentage down.

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 So for today’s blog I thought I’d do something I did way back in  July 2017 and explore what I will be watching in order to reduce the Sky Box’s waistline rather than focus on something I have already watched.  As preparation I looked back to that previous post of nearly 20 months ago and was surprised to see that not much had changed.  The focus of that post was me falling asleep in the first episode of Series 7 of “Game Of Thrones” which I had planned to review and with Series 8 imminent here is the confession, I haven’t watched any more.  I have the whole series sitting in the Planner, including the episode which caused such a deep slumber because I will have to revisit this again right from the start to have any chance of knowing what is going on.  Hopefully, the escalation of publicity for Season 8 will prompt me to watch the previous seven episodes.

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Also, I note that I was working my way through two series I had on series link and here things haven’t improved.  I might have got through series 5 of the likeable enough Sherlock Holmes reboot “Elementary” starring Jonny Lee Miller and Lucy Liu but I now have ten unwatched episodes of Season 6.   The situation regarding “Hawaii 5-0” shown on Sky on Sunday evenings is even worse.  It’s a show that’s not quite limping along but almost so I am now watching it in small doses, which is probably why eighteen episodes over two series have built up.  It’s still happily recording them each Sunday but perhaps at some point soon I will need to pull the plug on this.

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I’m a good one for watching first episodes as soon as they come out and then stalling with the rest of the series.  I haven’t yet made up my mind about W’s “Flack” a London set drama dealing with a PR company protecting the reputation of celebrities starring child Oscar winner and ex-Sookie Stackhouse from “True Blood”, Anna Paquin.  It’s one of those US/UK productions that end up seeming a little odd to viewers on both sides of the Atlantic, but I’m only a couple of episodes behind so I’ll stick with it.  I’m also not sure what to make about BBC 2’s “Motherfatherson”, surprisingly starring Richard Gere.  I’m really not sure where it is going and it wasn’t Gere who lit up the screen in the first episode  but Billy Howle as his tortured son.  The first episode ended up in a hospital scene with what looked like a brain tumour operation so I really can’t guess how the series is going to pan out.  It has the similar stylish feel of BBC1’s flawed “McMafia” but this is written by Tom Rob Smith, a British crime novelist of great repute who did excellent work penning “The Assassination of Gianni Versace” and the odd but fascinating “London Spy”, so I am certainly going to continue with this.

tomrobsmithTom Rob Smith

And then there’s “Finding Neverland: Michael Jackson And Me” which was spread out on subsequent nights into two parts by Channel 4.  I watched the first part and found it so disturbing and it gave me nightmares.  I know I should watch the second part but haven’t got round to it yet.  At this stage I really can’t put my impressions into words.  I can’t help but recall the cultural shift which happened in this country following the revelations about presenter and DJ Jimmy Savile which I struggled to sum up after reading the chilling exceptionally researched book about the man, “In Plain Sight” by  Dan Davies (2014) .  Here again, it feels like something we knew about and yet chose not to believe or ignore.  The impact of Michael Jackson on our popular culture is huge, the almost erasure of people like Savile, Gary Glitter and Rolf Harris from our cultural pasts was possible because they did not have celebrity to the magnitude of Jackson’s.  Sales of Michael Jackson’s records have grown in the UK since this programme was shown so this is a complex issue that I’m not going to be able to deal with in a paragraph, especially as I have only watched half of the television programme that has caused these developments.

 Hopefully, I will be less disturbed by two further music biographies.  “Mariah: The Diva, The Demons” was shown on Channel 5 on their Mariah Carey night before Christmas and promises to be a dramatised bio-pic focusing on 2000-20001 where Mariah bludgeoned her career to bits by performing in the movie “Glitter”, which I’ve seen and don’t think it’s as bad as it was made out to be.  It was gloriously tacky, and I’m hoping that this bio-pic will be too, but it’s also long which has put me off it up until now.

teddyTeddy Pendergrass

 I’ve been reading quite a bit about a documentary which had a limited cinema release a few week back which sounds right up my street, Teddy Pendergrass: If You Don’t Know Me” examines the life of the extraordinary vocalist from Harold Melvin and The Bluenotes and his subsequent solo career dogged by tragedy.  It was shown on Sky Arts last night.  I suspect here too there will be revelations I will find challenging.

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 And once I’ve exhausted the Sky Planner there’s always Netflix , where I am still working my way through “Dynasty” where I’m about to begin Series 2.  This is a show which has got better since my review of the first episodes probably because the character of Fallon Carrington is so sparklingly played by Elizabeth Gillies and has taken a more central role as the series has progressed and “Riverdale” which has lost any sense of fun it had and become increasingly dark, but still watchable.  Also Netflix is adding episodes weekly to the latest series of “Rupaul’s Drag Race”, which hasn’t yet had the magical spark of the last season of “All Stars” and I’m also one episode in to creepy stalker drama “You”, but I suspect here I might not last the distance.

Who says there’s nothing on television nowadays?

 

100 Essential Books – Things In Jars – Jess Kidd (Canongate 2019)

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I have read both of Jess Kidd’s previous novels and I was delighted to interview her for NB issue #90 following the publication of her debut. It was this book “Himself” (2016) that I expressed a slight preference for – a novel set in 1970s Ireland which absolutely fizzled throughout although both books have been very strong. “The Hoarder” (2018) had a modern West London setting and like its predecessor combined a good mystery with vibrant language, colourful characterisation and a supernatural element.

All of these factors are present in her third novel, with its setting always of particular interest to me, Victorian England, yet it is not just for this reason that I think that Jess Kidd has written her best novel to date and all that potential she has shown up until now has come into fruition with this hugely entertaining novel.

Like all of Kidd’s main characters to date Bridie Devine can see ghosts but here it’s just one, a half-naked ex-boxer she encounters in a churchyard who remembers her from her past. This supernatural touch is something which obviously means a lot to the author and I felt in “The Hoarder” it did not work as well as it had in “Himself” but the pugilist Ruby is a great character and becomes Bridie’s sidekick on some private detective work.

A child has been kidnapped from a country house in Sussex but it is soon apparent that this is no ordinary child and a gallery of rogues, richly-drawn characterisations worthy of the best of Dickens, seem to be involved in her disappearance. Bridie enlists the help of her seven-foot maid Cora, the spectral Ruby and crossing-sweeper Jem to locate the child.

I do read quite a few of these gutsy Victorian set novels and I’m aware that when they are done well they are likely to feature in my end of year Top 10. The actual case within  the novel recalled for me another female amateur detective Heloise Chancey in MJ Tjia’s series of novels but here with greater depth and the sheer vivacity of the language reminded me of Michel Faber’s “The Crimson Petal And The White” and (although set in late eighteenth century London) within its themes of “The Mermaid And Mrs Hancock” by Imogen Hermes Gower- both great favourites of mine, but this novel certainly has a life of its own.

I particularly like it when the history of a historical novel is incorporated seamlessly. Here we have the Victorian love of the unusual and freakish and the developments in medicine which attracted the honourable and the disreputable sitting beautifully in with what becomes a gripping mystery peopled with characters about whom I wanted to know so much more. I hope this novel will be the making of Jess Kidd and will get readers discovering both her other publications. The effervescence of her writing will stay with me for some time.

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Things In Jars is published in hardback by Canongate on April 4th 2019. Many thanks to the publishers and Netgalley for the advance review copy.

100 Essential CDs – Number 54– Will Young – Friday’s Child

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Friday’s Child – Will Young (19 2003)

UK Chart Position – 1

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Just over a year on from his essential debut album “From Now On” Will Young was back with an album that was every bit as good.  Once again it ascended to the very summit of the charts and hung around for almost a year.  Single-wise it spawned three Top 5 tracks including his fourth (and to date his last) number 1 with perhaps his best ever recording.

 Although at this time he was still on Simon Fuller’s record label the boy had certainly grown up.  Success had given Will a voice and more independence to do what he wanted and this showed as musically this is a more coherent piece than the debut.  There was a new gang on board with Will getting writing credits on 6 of the 11 tracks.  There were a team of producers behind Stephen Lipson, a long-standing established producer who had worked alongside Trevor Horn for years at ZTT records.  Lipson worked either individually or part of a team for 8 of the 11 songs here.

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Producer Stephen Lipson at the desk

 The album kicks off with its only cover version.  To this point Will had followed the commercial popstars 90’s/00’s trajectory of recording a number of cover versions (this seems to have faded nowadays.  Who needs covers  with the originals so readily available on streaming services?)  To this point he had already covered Westlife, Bobby Darin, The Doors and The Beatles but here it is only “Love The One You’re With” a Stephen Stills song which makes the grade.  The original had just scraped the UK Top 40 in 1971 (US#14).  Nine years before the release of this album Luther Vandross had also led his album of covers “Songs” with the track and got to number 31 in the chart- the tune’s highest UK placing despite being an acknowledged radio classic.  Will’s version is pacy with a big sound and a good background arrangement and features one of his trademarks, the extended bended note (there’s probably a technical term for this).  It’s a good start to the album – probably with the tracks on display here it ends up in the middle of the pack for me somewhat but it is performed enthusiastically and both his and Luther’s version are worth a listen, with I suspect Vandross having the edge.

 

Stephen Stills and Luther Vandross also loved the one you’re with

 “Your Game” is a stronger track and up there with his best.  It reached number 3 as the second single from the album helped by a very memorable video.  Like the last track it is the interplay between Will and the Gospel Choir Metro Voices which provides a highlight.  I love the fullness of this track written by Will and co-producer Blair MacKichan with Tayo Onilo-Ere.  It gave Will a Brit Award for Best British Single of 2005.  “Stronger” is a much more understated affair written by Steve Lipson and Karen Poole, the daughter of ex-Tremeloes Brian Poole and herself one half of Alisha’s Attic who had 8 Top 40 UK hits between 1996 and 2001. 

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Alisha’s Attic

“Leave Right Now” is probably Will’s finest moment.  A track which succeeds on so many levels.  A great song written by Eg White and a convincing vocal performance with a good build and another memorable video of Will fixated on us at an art gallery which is both affecting and slightly disturbing which helped it shift a few units.  It was on this song that Will moved from successful pop talent show artist to an act who Britain should be proud of.  A number 1 single which was awarded an Ivor Novello Award.  It also topped the charts in Ireland and made inroads in European charts such as Belgium, Norway, Italy and Sweden and world markets such as New Zealand and was heavily featured on American Idol getting Will recognised Stateside.

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 “Love Is A Matter Of Distance” is a gentle convincing number, with a warm vocal performance and leads into “Dance The Night Away”, a more uptempo, urgent funkier track .  “Very Kind” was co-written and co-produced by Robin Thicke who also in 2003 launched his album recording career with “A Beautiful Mind”.  Robin of course would go on to have a massive hit a decade later with “Blurred Lines” and possesses the same white soul boy feel as Will.  Here, a sweet vocal performance is boosted by good orchestration arrangement. 

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Robin Thicke

“Free” gives a composing credit nod to Bill Withers, another obvious hero of Will’s and an artist who Will was covering back in his Pop Idol days when he won audiences over with his performance of “Ain’t No Sunshine”.  I’m not sure which Withers song is being referenced here.  “Going My Way” is not one of the strongest tracks on display.  It has a contemporary acid-jazz feel but never fully reaches its stride and here I find the interplay between Will and backing voices which has been a real strength on this album a little bit annoying.  “Out Of My Mind” is a welcome uptempo club-influenced track which has the feel of Jamiroquai, which is no bad thing.

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The album closer is another gem of a track and became the third single from the album and reached number 4 some 7 months after the album became available. In its extended play here it pushes nine minutes and every single second of it works.  Once again it had an excellent video and from his performances on the videos that accompanied this album Will was able to re-establish his credentials as an actor which led to a period where both his music and dramatic performances went hand in hand.  “Friday’s’ Child” has a chunky sound and an arrangement which recalls artists such as Soul II Soul and is a totally credible strong way to round things off.  This is a track as strong musically with extended its instrumental sections as it is vocally and up there with his best and seems miles away from karaoke classics on a Saturday night entertainment show.   

With this album anyone who considered Will would just be another Saturday night pop puppet had to reconsider.  It’s a mature album with the singer at ease with himself as an artist and the type of music he was recording.  Taken as a whole, although there are stronger high spots this time round I personally give a slight edge to the debut, but there really is not much in it and both I consider essential albums. 

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Will has to date recorded another four studio albums, two of which also ascended to the top of the charts with the other two stalling at the runner-up position.  Music seems to have currently taken a bit of a back seat in favour of other interests since his last release in 2015.  The other studio albums have been strong but not in my opinion essential.  He has become an acclaimed actor, especially in musical theatre and an advocate for gay rights.  His role in the popular culture of this country so far this century is significant.

 

Friday’s Child is currently available in the UK from Amazon from £3.21 and used from £0.01.   In the US it is currently only available used from $1.51.  In the UK it is also on Spotify streaming service.

Do I Love You? -Paul McDonald (Tindal Street Press 2008)

 
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Tindal Street Press were an independent publishing house based at the delightful address of the The Custard Factory, Birmingham, with the remit initially of publishing local writers.  In the first decade of the Millennium they defied expectations by regularly getting their authors shortlisted for book awards.  Perhaps their most notable publication (especially for me who placed it in my Top 5 reads of 2014) was the 2007 “What Was Lost” by Catherine O’Flynn.

 In 2012 the company was purchased by Profile Books and sadly the three titles from Paul McDonald are no longer in print.  According to Amazon, McDonald is a course leader on Writing at Wolverhampton University who specialises in humour, and this is certainly evident in this novel.

 Minty is a 40 year old lollipop man whose life is thrown into further disarray when a television advert for Kentucky Fried Chicken rekindles his youthful interest in Northern Soul.  His  wife Hazel, a health visitor, is battling with her compulsions to weigh things and constantly look up words in the dictionary as well as coping with her liability of a husband and Kurt Cobain loving teen, Nigel, trading in drugs to boost his reputation.  A lot of humour is based on this generation clash and cultural references abound which might have dated this but actually hasn’t.  The title refers to perhaps the rarest of all the tracks which became big on the Northern Soul scene by Motown artist/producer Frank Wilson “Do I Love You? (Indeed I Do)” which is the song which provides the catalyst for the comic unravelling of the family.

 This is dark comedy with situations that should not be at all funny but occasionally are but where McDonald hits home is his incorporation of music, both the beloved Northern Soul of Minty and his friends’ youth and his son’s grunge tunes into the narrative in a very successful way.  Anyone who was into the quirky Wigan Casino centred scene of the 1970’s would get a lot from this affectionate view of rare records and grown men trying to relive their youth.  Another great strength is the characterisation who despite some pretty awful mishaps of their own doing manage to remain likeable.

 I read this quickly and enthusiastically and would certainly seek out another of McDonald’s titles the Crossroads referencing “Kiss Me Softly Amy Turtle”.  For me the humour here did not always hit home but that did not mar my enjoyment of this title.

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Do I Love You? was published by Tindal Street Press in 2008 and no longer seems to be currently in print.  Used copies can be purchased at a very worthwhile price on Amazon.