Wildest Of All – P K Lynch (Legend Press 2017)

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Scottish author PK Lynch has followed up an award-winning debut “Armadillos” (2016) with this thoughtful, family novel.  It commences with the death of family lynchpin Peter Donnelly and the effects this has on those left behind.

Main character Sissy is 17 and adores her Dad.  The suddenness of his demise has deprived her without the chance to say goodbye and her attempts to do this her own way are thwarted by her staunch Catholic grandmother, Anne.  Sissy’s mother Jude is crumbling without her partner and the rest of the family seem not to know what to do about this.

The first half of this novel carefully and precisely examines the effects of bereavement on the family and it is grandmother Anne, befuddled by the death of the son she idolised, with her own secrets about her marriage and frustration at Jude’s inability to function as well as her need to control potentially wayward teenager Sissy, who comes across as the strongest drawn and most rounded character.  The dynamics between the three are strong, felt authentic and kept me involved.

Circumstances take Sissy away from Glasgow and the novel shifts to become a young-girl-surviving-in- London tale which loses some of the depths of the novel as the characters here are not so well-drawn.  Sissy, herself, is not terribly likeable and becomes less so once she moves down South.  Anne and Jude take more of a back seat and this change of emphasis alters the balance of the novel from something potentially excellent to following along more predictable lines.

Those interested in novels which focus on family and friendship at times of duress would find much to become involved with but I felt a little disappointed that it doesn’t quite live up to the promise of the opening chapters.

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Wildest Of All was published in September 2017 by Legend Press.  Many thanks to the publisher for the review copy.

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Snatch (2017 AMC) – A What I’ve Been Watching Review

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Before seeing this 10 part crime caper advertised I’d never even heard of the AMC channel let alone watched anything on it.  It’s a BT channel and I am a Sky Customer so never expected to find it but there it was well tucked away on Sky Channel 192. I was interested enough in the premise of this to add the double bill of the first two episodes to my planner.

Snatch is loosely based on the 2000 crime comedy directed by Guy Ritchie and starring Brad Pitt and Jason Statham. I’ve actually never seen that film but I think the association comes more in the setting and style of the piece than any actual characters or storylines.  It has the Guy Ritchie coolness which made “Lock, Stock and Two Smoking Barrels” a hit.

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The TV series provides the first dabbling in production for Rupert Grint, now 29, who spent a large chunk of his childhood as Ron Weasley in the Harry Potter franchise and may very well be looking now for ways to invest his millions. He is also starring in “Snatch”.  I was interested by his presence but this was not enough to get me going further than I would normally go with the remote control and the Sky Guide.  It hasn’t for example been enough for me to record his Sky 1 comedy “Sick Note” which started this week.  It was actually the supporting cast that got me interested enough to press record.

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I’ve also recently been watching the DVD box set of the BBC1 series “The Musketeers” which I’ve had recommended to me from a number of sources but which completely passed me by when it was on TV.  It’s been a lot of fun and of course features Tom Burke, who I highly praised for his turn as Cormoran Strike in another J R Rowling adaptation as well as Luke Pasqualino, who makes a dashing D’Artagnan.  Luke here plays Albert, whose father is in prison after a botched gold bullion robbery when Albert was a youngster.  He is big pals with Grint’s Charlie, a bow-tie bedecked posh boy whose family has fallen on hard times.  This dynamic duo become a trio with boxer Billy.  He is played by the fabulously named Lucien Laviscount who had a stint as a teenager on “Coronation Street”, went into the Celebrity Big Brother house a few years ago and flirted with Kerry Katona andwho I last saw in the one episode I watched of American TV series “Scream Queens”, a Ryan Murphy creation which slots directly in between teen series “Glee” and adult gore-fest “American Horror Story” by being a teen horror series.  It didn’t work for me and gave up early on, I was fully aware that I was the wrong audience for this but it was great to see Brit Laviscount in the cast which also featured Lea Michele from “Glee”, Jamie Lee Curtis and teen heartthrobs Ariana Grande and Nick Jonas.  Since then there’s been considerable hours in the gym as he has an extraordinarily toned torso with something looking like it amounts to a 23-pack.

 Luke Pasqualino and Lucien Laviscount

Interesting casting combination for a group of three lads who will in the weeks to come get themselves in deeper and deeper waters which will test the bonds of friendship.  It’s a young, slightly flashy stylish series.  By the end of the first episode the three who had indulged in small time crime suddenly found themselves in the big league when they unwittingly end up with a van of gold bullion.  In the support cast we get the fragile charms of Phoebe Dynevor (“Coronation Street” connection again, is the real-life daughter of Sally), and the always bankable Marc Warren as a beleaguered cop  and Dougray Scott as Albert’s jailbird dad.

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Both of the two episodes I watched were good fun, well-paced, a little flashy but certainly I would not have given up on them at this point.  You can tell there is still a lot of mileage in the plot.  I recorded the third but when came to watch it was informed by Sky that this channel is not part of my package.  I could add it as a BT Sports package (don’t bother phoning me to try and persuade me to do this Sky, it’s not going to happen).  Obviously the first two episodes were being shown as part of a “Showcase” to lure me in, which it did, but I’ll get over it.  

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The boys with Phoebe Dynevor

There is still the feeling, held over from the years of two/three/four channel television that anything that does not appear on the main listings is somehow inferior.  I think in the first years of multi-channel TV in the UK, this was often the case.  The first years I had Sky I mainly watched repeats of things I’d missed out when first shown on terrestrial as well as the odd off-the-wall series.  Things now have certainly changed, not only because of shows like “Game Of Thrones” which has probably more than any other show altered people’s perceptions of Sky’s programming but also Amazon Prime and, especially, Netflix, who seem to be making shows that are too ambitious and expensive for the main networks to produce (“The Crown, anyone?  I watched this open-mouthed at the sheer quality of this production).  Perhaps just as recent as a year ago I would have been sniffy about an original series appearing on a channel like “AMC” (what does that even stand for?) assuming that it couldn’t be good enough for “proper telly” I now know better and this is one of the reasons why searching the schedules for buried treasure has become another joy of TV watching.  Hopefully, another channel will pick this series up in the future (like Fox has done with the very likeable Amazon hit “Lucifer”) and I will be able to see it to its conclusion.

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The Book Of Forgotten Authors – Christopher Fowler (2017) – A Real Life Review

 

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Now, this is just the sort of book to throw out my reading schedule. Novelist Christopher Fowler briefly examines the careers of 99 authors, who either used to be big but have faded from prominence of who deserved to be more popular than they were. It’s a fascinating, highly readable book which is both illuminating and nostalgic. The author has always been a voracious reader and book purchaser and he’s certainly done the groundwork for us here.

Christopher Fowler need not have any real fears of being forgotten, certainly not by me. You wouldn’t know it from this blog as this is probably his first mention in over 400 posts but since I’ve been keeping my own meticulous records of what I’ve been reading (I’ve always done this but lost a book which went back quite a few years), so we’re talking the last 23 years here, he is the author whom I’ve read the largest number of books by.

This book puts the Fowler total up to 15 (+ 1 I’ve read twice in this time) which pushes him further ahead from his nearest competitors , Charles Dickens (12) and Peter Ackroyd (11 + 2 re-reads). I’ve still got plenty of Fowler to discover, a quick tot-up of his books listed inside the front cover suggest 43 publications in total. I did gobble up a number of his horror novels in a short space of time in the mid to late 90’s after discovering “Spanky” (1994), a Faustian tale of a pact with the devil, which I still consider to be his best. In recent years he has concentrated on the Bryant & May detective series. I realise, with a fair amount of shock, that the last of his books I read was the third in this sequence “77 Clocks” and that was 10 years ago now! I haven’t forgotten you, Mr Fowler, honest! (I did last re-read “Spanky” in 2013).

Here the author tackles his findings alphabetically with considerably more than 99 names actually being thrown into the mix as in addition to the potted biographies and commentaries on individuals there’s also sections of forgotten authors linked to themes and genres.

It wasn’t long before I found myself making lists of those I’ve already read (not many and those a long time ago), those whose books I have unread on my shelves (5), those I can get from the library (36), those I can get on Kindle for free (4), for under £1 (8), or at a higher price (8) and those I can buy from Amazon (32). This left just those whose books do not seem readily available (4) or just too collectable for my budget (2). So thanks for all this, Mr Fowler, I’m supposed to be reviewing, not spending my time making lists!
And now I’ve got said lists I’m going to have to use them! So starting with what I have on my shelves already I hope over the coming months to unforget as many authors as possible. So this would include Margery Allingham, (a Golden Age of Crime Fiction writer who appears time and time again on recommended lists), I have a copy of her “Police At The Funeral” to start me off. There’s also Edmund Crispin (I bought a set of his Gervaise Fen novels from “The Book People”), Patrick Dennis (I bought his “Auntie Mame” because I love the Rosalind Russell film version and it’s pretty pricey on DVD), Barbara Pym’s “Excellent Women” (Book People purchase set again) and Edgar Wallace (a mammoth Wordsworth publication of “The Complete Four Just Men” taking up considerable shelf space). I’m adding these to the reading mix over the coming months and will of course be letting you know what I think and then I’ll move onto the others. Christopher Fowler has whetted my appetite so much I want to read them all!

This book would make a great present for bibliophiles – even those who claim to have “read everything” may find some hidden gems. A number of them are names that you’d remember from bookshop visits from your past, but may have never read. It could be time to put this right.

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The Book Of Forgotten Authors was published by Riverrun in October 2017.

Modern Gods – Nick Laird (4th Estate 2017)

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This novel opens with a shocking, violent prologue and then settles into a family drama reminiscent of the best of Anne Enright.  Set in the small town of Ballygrass, Northern Ireland, Alison is preparing for her second marriage and hoping to put behind her an abusive first marriage.  Her mother is fearful that a serious illness has made a comeback and her father has been left slightly confused after bouts of ill-health, and is no longer the man he once was.  Her sister, Liz, the main character, is coming to terms with the break-up of yet another relationship and their brother has secrets of his own.

The author pitches these family dynamics perfectly.  They are well-rounded characters and feel like a real family with its own issues and  tensions of a lifetime’s making.  It feels very modern, there are well-observed references throughout and certainly the first part of the novel is an unpredictable joy.

In Part Two we get a split narrative away from Alison’s wedding as Liz travels to New Ulster Island off Papua New Guinea to film a BBC documentary about a new religion.  The author opened up my eyes  here to Cargo Cults which is something I knew nothing about yet in making this shift in the novel I felt that some of the power and vivacity of what had gone before was diluted.  This is always a risk (I felt exactly the same recently about Zadie Smith’s “Swing Time”) as there is a danger that the reader will favour one strand over the other and want the author “to get on with it”. Although I enjoyed reading about Liz’s experience and it makes for chilling reading as the disastrous repercussions of western intervention begins to unfold I was itching to get back to Ireland where there were equally difficult situations regarding fanaticism to resolve.

The sections do link together and I can see what the author is trying to convey.  The whole thing ends up as a very good novel whereas for the first half I thought it was going to be an exceptional one. 

This is Irish writer Laird’s third novel.  He has also published collections of poetry and this is not surprising as his use of language is rich and precise.  He currently teaches creative writing at New York University.  I will certainly be seeking out his earlier works.   

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Modern Gods was published by 4th Estate in June 2017.  Many thanks to the publishers and to the folks at Nudge for the review copy.

100 Essential CDs – Number 67 – Silver Convention- The Best Of: Get Up And Boogie

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The Best Of: Get Up And Boogie – Silver Convention (Hot 1994)

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It’s to Germany we go for this slab of unadulterated guilty disco pleasure and  these under-rated early stars of the Euro-Disco music canon.  Silver Convention were the brainchild of two producers Michael Kunze and Silvester Levay whose use of synthesized disco predates what came out of Munich by the more famous pairing of Giorgio Moroder and Donna Summer. 

In the 1970’s we liked  to put faces to our acts, anonymous production teams were never going to cut it so a trio of singers were put together to represent the vocals of Silver Convention. Over time, the girls evolved from background singers to much more of a girl group, even representing Germany in the 1977 Eurovision Song Contest, but the vocals continued to take a less important role than the production and were often little more than a chant.   There was world-wide success for a short period of time, mainly three albums out of a five studio album career .  I am sure they are the only act ever to take part in the annual Eurovision extravaganza having previously scored an American number 1 pop hit.  (In the event they didn’t win Eurovision coming a middle of the table 8th in a year when France took the prize).  This fifteen track CD represents many of their finest moments.

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Kunze and Levay still working together after all these years

In the mid 90’s Hot Productions re-released for the mainly American market Best Of compilations from artists many of whom were making their first appearance in CD format.  I bought this CD in Miami which is where the label originated from.  Disco stars such as The Ritchie Family, D C LaRue, Carol Douglas, George McCrae, Divine and a number of artists produced in the UK by Ian Levine were recognised and many of these CDs have become quite collectable.  Amazon has this CD listed new for £78.99.  In the UK a vinyl compilation from 1977 reached the Top 40 album charts.  More readily available currently is a double CD from the Dutch Smith & Co label from 2003 called “The Very Best Of..” which does have more tracks but opts for the shorter single releases rather than the full-length versions of the disco classics we have here.

Silver Conention 3 Sylvester Levay, from former Yugoslavia, arrived in Munich in 1972 and teamed up with Michael Kunze, Czech born, who had grown up in Southern Germany and studied in Munich.  The two formed a song-writing team and scored their first German chart-topper in 1970 with a song called “Du” by Peter Maffray, the biggest German language song of that year.  International success came about when they made a record initially as Silver Bird Convention.

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That track, a delightful piece of Euro-Disco entitled “Save Me” was recorded using backing vocalists including Roberta Kelly, who would go on to work with the German productions of Donna Summer and have a Giorgio Moroder produced career of her own including the great Euro-hit single “Zodiacs” in 1978 and even put out a Disco gospel album.  At a music convention, one Pete Waterman, then working in promotion at Magnet Records picked up on the track and the shortened name act was signed to the label in the UK.  This resulted in a Top 30 UK hit in mid-1975 some months before Donna Summer put Munich on the musical map with “Love To Love You Baby”.  It also scored well in Belgium, Spain and the Netherlands.

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Considering Levay and Kunze were primarily songwriters they were not going to win any awards with the lyrics of this song which are basically “Baby save me, save me I am falling in love”.  Maybe to protect his song-writing reputation (?) Kunze used the pseudonym Stephan Prager for the first two albums. “Save Me” was distinctly wordy compared to the next hit which blew the whole Silver Convention concept sky-high.  “Fly Robin Fly” kicks off this album in its full length 7 minutes and 44 seconds glory.

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A bass line which I have always found a little chilling moves into soaring strings and the lyrics which contains a total of six words repeated in various combinations “Fly/Robin/Right/Up/To/ The/Sky.  It’s the string arrangement that has it though as it rises and descends with the speed and accuracy of the robin onto the worm.  The echoey vocals with the slight Germanic accent combine brilliantly and form the blueprint of Silver Convention.   In New York, the Disco scene was kicking off and this became one of its early huge hits crossing over to the American pop charts where it topped the charts for three weeks towards the end of 1975 and won the Grammy for best R&B Instrumental Performance.  They were the first German act to top the American charts and Euro-Disco was born.  It was a huge international hit and topped the charts in Norway and made the Top 3 in, amongst other markets, their homeland, Belgium and Canada.  In the UK it went a couple of places higher than their debut reaching #28.

Silver Convention 7That earlier track, “Save Me” is up next and is less electronic sounding and features a sprightly saxophone solo.  My seven-inch single of “Fly Robin Fly” morphed in its last few seconds into “I Like It” which was the B-Side in the UK to that single although on their first album this track preceded it.  Here it follows “Save Me”.  By the release of these tracks Silver Convention had become Penny Maclean, Linda G Thompson and Jackie Carter, the latter being the only remaining vocalist from the “Save Me” sessions.  The quality is maintained with another track from that debut album “Another Girl” which is richer in melody and features the lovely German “V” sound when they sing “Woman”.  This is Euro-Disco combined with the sound Barry White perfected for Love Unlimited with just a hint of Abba.  Once again the strings vie for dominance over the girl’s harmonies and spoken interludes and this is one of my favourites from the group.  I think with hindsight and the explosion of Euro-Disco music which came afterwards from the likes of Boney M, Cerrone, Baccara etc it’s easy to forget how different this all sounded.  The album topped the Billboard R&B Charts (certainly the first German act to do so) and reached number 10 in the US pop charts.  The “All Music Guide To Soul” rates the album five stars and describes it as  having “a uniquely European take on American soul-pop and disco.  Arguably the group’s most essential release.  “Save Me” is a dance classic.”

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They had some reputation to maintain for its follow-up.  Lead track from the second album “Get Up And Boogie” is just a tad irritating.  It does work better in its full length version included here as you get electric piano solos and good bass work.  In the single version the beat is a bit lumbering, the girls’ vocals sound a bit whiney and the “That’s Right” male voice sample makes the whole thing a bit stop-start.  The record-buying public gave it a thumbs up and any fears that the group might have  one-hit-wonder European novelty status in the US were allayed when it just missed out on being their second chart-topper, getting to number 2.  It became their biggest hit in the UK reaching number 7, topped the charts in Canada and made the top 10 worldwide including The Netherlands and Spain. 

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There were a couple of better tracks from the second album included on this CD.  “San Francisco Hustle” is their entry into the geographical hustle stakes which, a year on from Van McCoy introducing us to the dance had hit variations of “The Latin Hustle” “The Spanish Hustle” and was still with us in 1978 when Hi-Tension gave us “The British Hustle”.  The San Francisco version provided a very attractive track, although maybe too slow to dance the hustle?  It’s a melody-rich track which could have provided another hit, as could “You Got What It Takes”, which once again has that “Voman” pronunciation which always appeals to me.

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Their record labels went for “No No Joe” as the next single.  It’s a nod towards the sexualisation of disco that had gone mainstream following the huge success of “Love To Love You Baby”.  It was probably the same decision making that led to their UK label putting out the album (and a repackaged first album) with handcuffed naked female cover art.  For some reason handcuffs had been an image associated with the band since the first album.  This caused much publicity with Woolworths refusing to stock the album.  The solution was to overlay the cover with splashes of white to cover up anything deemed offensive but actually to make the whole thing more tantalising for those interested.  I think it could have been possible to pick off the overlaid white, but I’m not sure.  It’s not even easy to find the artwork for these covers nowadays, even on the internet as they were soon phased out, but I had a vinyl copy. In the UK “No No Joe” wasn’t going to attract much radio-play and so was double A-sided with earlier track “Tiger Baby” but it underachieved in most markets.

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Third long player “Madhouse” was promoted as a disco concept album, with tracks loosely linked around a “world is a madhouse” theme.  It had a poem on the back cover which attempted to link the tracks and was a funkier effort.  The 7 minute title track (not included here) felt similar to what Norman Whitfield was doing with Rose Royce and Undisputed Truth but with the Munich strings and German accented vocals.  The best track  on show was actually the mid-tempo “Everybody’s Talkin’ Bout Love” which brought back the lushness of a Love Unlimited type track and was far more of a song than we’d had from them before.  In the UK it reached number 25.

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By this time the group’s personnel had changed.  Levay and Kunze were still pulling the strings but by now Penny McLean had been joined by Ramona Wulf and Rhonda Heath.  Linda G. Thompson had a shot at solo fame with a turntable hit “Oh What A Night”.   Ramona also got plenty of club play with a solo cover version of “Save The Last Dance For Me.” More successfully, in 1975 Penny had scored a big international hit with a solo track, the  histrionic “Lady Bump” which had topped charts in her Austrian homeland and Germany.  (Check out the YouTube video of her doing her best to sing it live in front of a European gyrating audience- it’s a kitsch classic) She also released a solo album. 

 

 Levay and Kunze were still very much behind the group and attempted to boost waning sales by entering the 1977 Eurovision Song Contest. “Telegram” is a good piece of girl-group pop, which has morse code punctuating the song and a singalong chorus (a chorus in a Silver Convention song, that’s almost a first!) The trio arrived in London the on-paper favourites but as ever the vagaries of the Eurovision voting system saw them off. (That year UK came second with Lynsey De Paul & Mike Moran’s “Rock Bottom”- a prediction of future Eurovision attempts perhaps?)  “Telegram”, although now meaningless in our time of instant e-mails, remains a Eurovision fan favourite and often appears on compilations.

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The last hurrah for the group came with “Blame It On The Music” from the fourth album called either “Summer Nights” or “Golden Girls” depending on where you live.  This is a great Abba-esque track with flurries of strings which shows the direction the girls could have taken.  Soon after the release of this album Penny left the group, and was replaced to concentrate on her solo career and was replaced by Zenda Jacks.

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The last two tracks on the compilation come from 1978 album “Love In A Sleeper” which brought them some success in Europe.  Here arrangement duties were taken by American disco producer John Davis with some tracks being recorded for the first time outside Munich at Sigma Studios in Philadelphia. Long-term the writing was on the wall and the group slipped away back into obscurity.

 The producers Levay and Kunze, however, continued to thrive.  Michael Kunze worked on translations of hit musicals and adapted many of the big Broadway shows for German audiences including Evita, Cats, Mamma Mia, A Chorus Line and Into The Woods.  He has developed his own musicals including one based on Daphne Du Maurier’s “Rebecca” and with Sylvester Levay again a hit German language musical based on the life of Mozart.  Levay himself spent much of the 90s in the US composing TV and film scores before reuniting with Kunze for the theatrical productions.  Both have gone on to much respectability in the music business but I hold out a hankering for their early work of swirling synthesized strings, repetitive lyrics and the lushness of the German EuroDisco sound of Silver Convention. Below is the video for the US #1 hit single.

And because looking at these videos have given me so much pleasure the last couple of days here is that Eurovision song entry featuring much of what the Strictly Come Dancing judges refer to as arm-ography.

 

The Best Of: Get Up And Boogie is currently available from Amazon in the UK for £78.99 and used from £12.99.  In the US it is available  from $17.35.  Other Silver Convention compilations are available.  The majority of the studio albums are available to stream from Spotify in the UK.

 

 

National Libraries Week – Isle Of Wight Libraries

Like most areas, the Isle Of Wight had a planned week of activities to celebrate National Libraries Week.  We wanted to use the occasion to highlight the good work that is going on in the libraries.  On the island we have a mixture of council-run and community libraries and both, despite what the powers that be might want us to think, continue to thrive.

One of the libraries I work at wanted to offer something completely new for the week and we got to racking our brains.  I had mentioned a bookshop I had been into in Bath where a customer was sat with a member of staff who was talking to them about their reading interests and acting as a personal shopper for them.  I mentioned how this would be a perfect job and an idea was formed.

We decided to hold a Reader’s Advisory Day.  A quick visit to the internet suggested that this is something which happens in libraries in less cash-strapped areas than ourselves and that some people in certain areas (although we didn’t find any evidence of this in the UK) have this as their job title.  There were some basic resources on the internet to ensure that you got the best out of making recommendations, but these largely involved listening to what the person you were advising was telling you!  And who was deemed the most appropriate person to be the said Reading Advisor.  How about someone who spends their time reviewing and blogging and writing about books?  So that’s how I  became the Sandown Library Reading Advisor for a day (or the Book Doctor as colleagues have termed me, or the Book Guru, which is probably worse!).

Here’s how we advertised it.

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To be honest, people didn’t flock to make appointments as they were unsure what it was all about.  Nevertheless, we made cakes and in a fit of getting carried away by the idea decided to pitch a mini-marquee in the middle of the library for me to work from.

On the day you couldn’t help but notice something was going on in the library and I had people in my tent with me talking about books for the whole of the time the thing was running.  Basically, we chatted about what it was they liked about their favourites and saw if that rang any bells in my head (sometimes it didn’t sometimes it did).  When it didn’t there are loads of online resources out there (including Amazon and I’m pleased to say New Books magazine and the Nudge website where many of my reviews and interviews can be found).  We ate cake and had a very nice day.  The whole thing was deemed a success- although it took us a while to remember how to take the marquee down!

 

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It was great fun but all that concentration did leave me a little tired by the end of the afternoon.  We are certainly going to do it again in the future and my line manager wants me to work the idea for other libraries on the island.

Some of the authors I recommended during the day:   Chris Cleave, Ann Patchett, Frederick Backman, Robert Harris (more than once actually), Bernard Cornwell, Steve Berry, C J Sansom, Frances Hardinge, Ann Tyler, Rachel Joyce, Nina George, Stephen King, Joe Hill, David Gemell, Rory Clemens.

The End Of Eddy – Edouard Louis (Harvill Secker 2017)

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This debut novel packs quite a punch.  An autobiographical work which caused something of a sensation when it was published in France.  There was considerable outcry as the French life depicted here is certainly not the live-and-let-live philosophy which the rest of Europe considers France to have.  It is a depiction of recent working-class culture which is chilling and harrowing.  In fact, I was I very surprised to discover that French author Edouard Louis is only in his mid-twenties.  The tale he is telling seems to be of older generations.  I would have hoped that even French village life might have moved on from the events depicted here, but it would seem not. 

This translation, by Michael Lucey, a winner of an English PEN Award is an account of a difficult and intense childhood.  Set in a village in Picardy from the late 1990s where a tough working-class culture dominates and it is virtually impossible for anyone to be different.  The youths follow in their parent’s footsteps of either hard, monotonous work or no work at all, heavy drinking, machismo and make the same mistakes as the previous generation.  It is hard to escape this way of life and many just survive underneath the poverty line. 

Eddy does not fit in.  He questions his sexuality from an early age and his gentler behaviour causes him to be labelled by homophobic family members, fellow pupils and other villagers.  He is told what he is before he himself has come to any decision.  This leads to lack of self-esteem and a victim mentality which causes him to seek out on a daily basis a couple of youths who will beat him up in a lonely school corridor away from the eyes of others who would want to follow suit.  It is a heart-breaking and harrowing account of a childhood.

It is, however, a novel, although one largely based on fact.  That may make things slightly easier for the reader but then again there isn’t the same sense of completion that we would get from reading a memoir.  Louis is quite prepared as a novelist to leave us hanging and it is only through reading between the lines that we deduce that things must have got better.  It’s written very much as a memoir, it flows well and although I read it quickly the appalling treatment meted out to Eddy will certainly not quickly leave my mind. 

Often this type of “misery-lit” leaves a bitter taste in my mouth and I question whether I should be reading it at all.  I found myself caring and being very concerned about Eddy throughout.  It’s written with such honesty that I would imagine all readers would find some parallels with times of doubt in their own childhood.  The skewed logic of an immature mind is heartbreaking, yet as a piece of literature it works both beautifully and brutally.

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The End Of Eddy is published in the UK in February 2017.  Many thanks to the folks at Nudge and to the publishers for the review copy.

Dynasty (Netflix 2017) – A What I’ve Been Watching Review

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The latest series to get a revamp is 80’s classic glossy soap “Dynasty” which is currently being added one episode a week in the UK on Netflix.  We already have had the 21st Century version of “Dallas” which combined the next generation with the original stars, with some success, if not always gripping storylines, but found it was unable to survive the death of Larry Hagman.

Dynasty’s reboot is a different affair as it has been completely recast, using the original’s names and family relationships.  Starting with a clean slate means that Krystle Carrington (now Cristal) can be Hispanic, Jeff Colby is African-American and the role of Sammy-Jo (memorably Heather Locklear in the original) has been re-written as a gay man.

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I’ve watched two episodes so far.  The first was largely introductory as we had to get to know these characters all over again and the target audience was probably not born when the original series aired (1981-89).  The centrepiece (and Dynasty often had a centrepiece )was the wedding between Blake and Cristal, seen by Blake’s children Fallon and Steven as a gold-digger.  There was a nice nod to the original when Steven, (still gay), as a child in a flashback was seen playing the original theme tune on the piano.

dynasty6Blake marries Cristal – again!

There’s the first thing I missed – that glorious sweep of theme music composed by Bill Conti over the opening credits.  The rebooted “Dallas” went with the old tune, as has “Hawaii 5-0”.  “Dynasty” had a better theme tune than “Dallas” and it’s a shame not to have used it.

If things took a while to get going in the first episode that’s not too far from the original whose initial reception was very muted and it looked like this expensive series may be cancelled.  All that changed with the introduction of Joan Collins as the fabulous Alexis Colby and from her arrival onwards it became a huge ratings hit, influenced fashion (shoulder pads, anyone?) and summed up the glossy selfishness of the 80s.  On the reboot there have already been several mentions of Fallon’s and Steven’s mother but the role has not yet been cast.  I can’t actually think who could fill those shoulder-pads and take on Joan’s pitch-perfect portrayal of the super-bitch, but one name that keeps crossing my mind, and to maintain the British connection is Catherine Zeta-Jones.

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Dynasty was always bigger and blowsier than “Dallas” which centred on the machinations of JR and the stories were more outlandish (not counting Bobby’s dream which was used to write off a whole series when it went off in an odd direction).  In “Dynasty”, most memorably you had the kidnapping of Krystle by Psycho star Anthony Perkins, replacing her with a Krystle-lookalike in the Carrington home and Fallon got abducted by aliens (although now I’m not sure whether that was in the spin-off “The Colbys.”)  It also featured, probably from mid-way through the run, one of the most beautiful women ever to appear on television in Diahann Carroll as Dominique Devereaux (rebooted version, think of casting Rupaul in this role).

Future casting ideas for “Dynasty” producers – no charge.

It’s hard to say in the new version how far they will go in the over-exaggerated melodrama stakes.  We have had catfights (have you seen how ropey that famous fight between Alexis and Krystle in the lily pond looks to our modern eyes).  There was a fabulous moment in a cemetery at a funeral between Krystle and Fallon, which suggests that these slapstick-as-drama moments may be used freely in the new version.

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Fallon herself, played by   Elizabeth Gillies seems far more of a bitch than the Emma Samms/Pamela Sue Martin original but that just might keep us watching until Alexis turns up.  One of my favourite characters from the original, Sammy-Jo, has a lot of potential in this new incarnation played by the very easy-on-the-eye Rafael de la Fuente.  Anders the butler, or major-domo, as his role is explained here has had his role beefed up and is probably the most recognisable face in the cast played by New Zealander Allan Dale, who has turned out great work in at least three continents in major roles in “Young Doctors”  “Neighbours”, “The OC”,  and in the London West End production of “Spamalot”.

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The characters names aside, the show it reminded me most of was not the original “Dynasty” but “Dirty, Sexy Money” (2007-9) which was headed by Donald Sutherland and was always a lot of fun with a scheming rich family, the Darlings.  The characters of the two Carrington siblings seem here quite close to Seth Gabel (Jeremy) and Natalie Zea (Karen) (especially with her relationship with father’s business rival Jeff echoing Karen’s obsession with Blair Underwood as Simon Elder).

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Do we need a new version of “Dynasty”?  I’m still not convinced.  If it was going for a reboot I’d liked to have seen it done like “Dallas” was, moving the Carrington empire into the 21st century with some of the originals (those still with us, that is) taking their old parts.  (There were a number of “reunions” after the series ended in 1989).

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My enjoyment of this kind of heightened over-the-top drama is fuelled anyway by the splendid “Empire”, the story of a family run R&B/hip-hop label which is, to all intents of purposes “Black Dynasty”.  Their outlandish plots are kept bubbling by excellent casting and a battle of the titans in Cookie and Lucious Lyon (played magnificently by Taraji P Henson and Terrence Howard.  So, I can’t help feeling that the success, or otherwise, of this new “Dynasty” will depend on, as the original did, the arrival of Alexis Carrington.  For the time being I’m going to continue to watch.

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Dynasty is currently available on Netflix in the UK.  For those of us old enough to remember the original here are the opening credits at their finest.

 

The Sparsholt Affair – Alan Hollinghurst (2017)

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I’ve been really looking forward to the publication of this, Hollinghurst’s sixth novel in 29 years.  This highly talented British author is one of the few novelists whom I’ve read everything by.  I read his debut “The Swimming Pool Library” (1988) not long after it first came out and it is one of my all-time favourites.  The standard was every bit maintained for “The Folding Star” (1994) and both of these were my Books of The Year from when I first read them and have been re-read and much enjoyed since.  His Booker Award Winning “The Line Of Beauty” (2004) may very well be my favourite Booker winner.  This is an author I hold in very high esteem. 

But it is not all roses.  He has let me down in the past.  His third novel “The Spell” was nothing special and his last from five years ago “The Stranger’s Child” was good but didn’t make it onto my end of year Top 10 (and thus ended up at the charity shop).  I couldn’t shake off a slight disappointment over it.  His characters were strong but largely unlikeable and although I admired the epic sweep of British life from World War I to the present day I felt his “moments in time” structure a little artificial and felt that it led to him not following through with his characters.  It was undoubtedly haunting, but I also described it as “mannered and often dry.”

There has been five years between novels and I’ve been certainly eagerly anticipating the latest since the title was being bandied around in notifications of forthcoming releases at the start of the year.  I’ve changed a lot in the 29 years I’ve been reading Hollinghurst, but I’m not totally convinced that he has nearly as much.  He’s found his groove and has stuck to it.  Unfortunately, this means that the criticism that I aired for the last novel largely still applies, but this time more so. 

Once again he’s gone for a saga format with two generations of family and friends.  We move from Oxford during World War II to present day (ish) London.  A group of artistic friends notice another student working out which sparks an interest in him as a potential friend, lover or artist’s model (or some combination of the three).  We meet this athletic young man, David Sparsholt, at other times in his and his son’s life.

The most successful section features a tale of unrequited love.  David’s teenage son, Johnny, had a fling with Bastien on a trip to France.  A year later Bastien is with the Sparsholts in England and Johnny is keen to rekindle things but Bastien’s interest is now firmly in girls.  This is handled perfectly.  Once again, though, I found it to be too dry and mannered (which the first two novels are definitely not) and that I felt indifferent to many of the characters.  I think it’s that they take everything too seriously and there’s no humour in their relationships, which just doesn’t ring true with family and friends, where most of us need the humour to survive!  Also, a lot of the action in the lives, including the central “Sparsholt Affair” and most birth, marriages and deaths take place between the sections.  This reminded me of a production of “Madame Butterfly” I once saw where much of the action seemed to take place off-stage.  It leads to me feeling a bit cheated.  On that occasion I threw off Opera as being not for me, but I don’t wish to throw off Alan Hollinghurst, we go back such a long way!  I thought his early novels spoke to me directly as a reader in a way few novels of the time did.  As we have both got older this no longer seems to be the case.  The worlds he depicts, both in the distant and recent past and in the present feels somewhat alien and aloof. 

There are memorable sections and it is carefully plotted and so elegantly written and put together but there doesn’t seem to be much development from the last novel and it felt like I’d read it before, which after a five year wait and a nearly thirty years devotion to previous work made me feel somewhat disappointed on this occasion.  I’m sure that this is just a rocky patch between us but I hope I don’t have to wait another five years to find out.

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The Sparsholt Affair was published in hardback by Picador in October 2017.

 

100 Essential CDs – Number 74 – Lionel Richie – Back To Front

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Back To Front – Lionel Richie (Motown 1992)

UK Chart Position – 1
US Chart Position –19

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The Commodores were signed to the Motown label in 1972 and built up a following as a support act for the Jackson 5. Pretty much a funk band in the early days the group member initially playing the saxophone was one Lionel Richie from Tuskagee, Alabama. The group’s first hit “Machine Gun” (1974 UK#20 US# 22) was actually an instrumental where Lionel’s sax work can be heard. As the group diversified into ballads alongside the funk Lionel’s vocals began to be heard in hits such as “Sweet Love” (1976 UK#32, US#5) and the all-time classic “Easy” (1977 UK#9, US#4) and a song penned for his wife “Three Times A Lady” became the group’s first chart-topper on both sides of the Atlantic and opened doors for Richie. Asked to write and produce a hit for country singer Kenny Rogers, “Lady” saw Richie crossing into new markets and scored his biggest hit to date, his first US #1 in 1980. The following year saw Richie pen a song from the throwaway Brooke Shields movie “Endless Love” and record it as a duet with Diana Ross. In the US that became Motown’s biggest selling single to date with a nine week run at number 1. (In the UK it stalled at number 7). A solo career inevitably beckoned.

From “Machine Gun” to “Natural High” the Commodores became one of Motown’s biggest groups.

By 1992, after three huge selling albums Richie had experienced a five year career hiatus and to remove the pressure of having to come up with a whole new album Motown green-lighted “Back To Front” which would feature three new recordings alongside 13 of his biggest hits, predominantly from the solo career. The title explains the format- the new material was not tucked in at the end but led the recording. It brought Richie back into the limelight and topped the charts in the UK. It’s a great one- album introduction to what Richie was all about.

The format, does mean, however that the CD opens with the weakest track on display. “Do It To Me” like the rest of the new material was written by Richie and produced by Stewart Levine. All three were released as singles in the UK. This came out about a month before the album was released and is a pleasant enough early 90’s laid-back ballad with plenty of saxophone. It is a long way from the classic Richie songs and feels the most like album filler of the three tracks. It gave Richie his first UK Top 40 hit for over five years when it reached number 33. In the US it did better and became the highest placed track of the new material, scoring him his fifth solo R&B chart-topper and making 21 in the pop charts. In the UK we favoured the second release, “My Destiny” which is, as far as I am concerned, his last great single release. Its number 7 placing was his highest since 1986’s “Dancing On The Ceiling”. It also topped the charts in the Netherlands. It feels the most contemporary of the three, a slinky mid-tempo number which felt like just what Richie should have been releasing in 1992. It’s a great little sing along track

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Major anthem status was sought out for the third of the three tracks, “Love Oh Love” which has the feel of “We Are The World” the all-star USA for Africa song written by Richie with Michael Jackson as part of Live Aid. This tracks hovers very close to the cheesy with its chorus of children, “Little Drummer Boy” rhythm and big themes of world peace and eradicating sorrow but rather like Mr Jackson’s “Earth Song” I personally think Richie gets away with it and it’s all rather charming. At the end of 1992 I thought this could garner the Xmas single market and be a big hit but it didn’t happen, falling short of the Top 40. Once again it had its strongest approval in the Netherlands where it was a Top 20 hit.

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I don’t feel that these new tracks let the album down in any way but it is more likely that people purchased it for the remaining thirteen tracks, probably to replace on CD what was already owned on vinyl. There’s no chronological approach as suggested by the title, we just get a mixture of tracks from the back catalogue. As a solo artist Richie released three solo albums on Motown and here we get the cream of those tracks – just one from the first album, five of the original eight tracks from the second and two from the third. As well as this there is the non-album duet and four of his biggest Commodores hits to make up the 16 tracks. It made better sense to buy this on CD to replace a vinyl copy of “Can’t Slow Down”, that second Motown album, as you got the best tracks from that and much more besides. I don’t think it totally encompasses the cream of the Commodores output – for that I would recommend the 2005 double CD “Gold”.

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The thing that slightly overshadows Richie’s career as far as I am concerned is that with both his solo hits and works with the Commodores, the biggest hits, the ones that have come to define the artist are some distance from his best. “Three Times A Lady” with its quite traditional waltz feel and ever so cheesy lyrics sounded alright at the time of release and certainly broadened the group’s appeal with an older generation above their usual market falling for this schmalty track and it gave the group their first Pop #1 on both sides of the Atlantic. Solo Richie’s pretty-enough ballad from his second album “Hello” was the third single release off a very big release so something was needed to bring it to record buyers who had not gone for the album. A cheesy video, which at the time seemed more like a movie with a blind girl fashioning the head of Richie out of clay was fine for the first few viewings but then its out and out cheesiness became indelibly linked with the song in my head and is often the first thing people remember about Richie. This track also topped the Charts in the USA and became his only solo number one in the UK. I tolerate both these tracks on the CD but don’t exactly look forward to either of them, but probably for many people, these may have been what decided them to part with their cash for “Back To Front”.

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So, that’s the negatives done with. Let’s look at what is really special about this album. Firstly, that’s all the rest of the Commodores tracks, particularly “Easy”. How great a track is this? Penned by Richie and produced alongside James Anthony Carmichael, it is real laid-back sophisticated soul, stopped being totally as “easy as a Sunday morning” by one of the great guitar solos in a pop hit. There’s a great echoey feel to the whole thing. It’s one of the best not-out-of-Detroit Motown singles of all time. “Still” is also excellent and became their second US chart-topper in 1979 (in the UK#4) a real piece of calm amidst all the Disco that was released that year and sounding pretty much like a deep soul ballad with an orchestral backing. “Sail On” (1979 US#4 UK#8) perhaps underlines more than any of the others how close this group could go towards country music, and may have been behind the idea to have Richie work with country legend Kenny Rogers, this kind of musical boundary blurring quite unusual in the days of genre-specific radio play in the US. There’s a lovely build to this track.

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To launch his solo career Richie took producer James Anthony Carmichael with him and with him now penning much of the Commodres material it was really the smoothest of transitions to solo stardom as first solo hit “Truly” fits in perfectly with The Commodores ballad sound. Another calm ballad very much in the feel of “Still” with the build of “Sail On”. It was an unsurprising US Pop #1 and reached 6 in the UK in 1982.

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The album “Can’t Slow Down” was a clear statement at propelling Richie towards super-stardom. It fused musical styles ending up really as one of the early classic black pop albums and won the Grammy for the Album of The Year in 1985 and topped charts all around the world. The infectious “All Night Long (All Night)” proved that Richie wasn’t just a ballad singer but was also no longer the funk singer who snarled his way through “Brick House”. This was bright and breezy and intended for the masses and they loved it as it topped the US chats and got to number 2 in the UK. Its carnival feel ensured its worldwide success. Less showy but successful tracks from the album here included are “Penny Lover” (1984 US#8, UK#18), Stuck On You (US#3,UK#12) and the rock-lite of “Running With The Night” (US#7, UK#9) where a rock guitar which made “Easy” holds this track back .

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The third Richie solo album, “Dancing On The Ceiling” didn’t impress me nearly as much. The tracks included here, the title track, (1986 US#2, US#7) and “Say You Say Me” (US#1, UK#8) actually sound better now than they did at the time of release when I found one cheesy and one a little dull. Other single releases from the album, especially “Ballerina Girl” and “Sela” seemed to suggest Richie had lost his way somewhat as far as this record buyer was concerned. They are not included on “Back To Front” and led to a burnt out Richie beginning his extended break from recording and the public arena.

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Lionel Richie was not able to build on the success of this album and it was not until 1996, four years after this compilation and ten years after his last studio album that he re-emerged on the Mercury label with “Louder Than Words”. Over the years his subsequent albums have seen him toying with R&B and hip-hop influenced tracks with varying success. Nothing he has recorded since I would consider essential, although there was a triumphant return to form in 2012 when a back-to-his-country roots album “Tuskagee” topped the US charts marking his first Number 1 hit in 26 years. This revisited his hits alongside collaborations with country music stars including Shania Twain, Willie Nelson and with Kenny Rogers on a new version of “Lady” which helped catapult him into solo fame. This was too much country for me, but it was great to have him back in the limelight.

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Richie has sold over 100 million albums worldwide and features on lists of the biggest selling stars of all time. This album reminds us why.

 

Back To Front is currently available from Amazon in the UK for £3.85 and used from £0.05.  It can be downloaded for $7.89 .In the US it is available new from $12.11, Used from $0.08 and can be downloaded for $6.99.used for $3.00.  It is also available to stream from Spotify in the UK.