2018 – What I Should Have Read

I am fairly certain that I am now reading my last book of 2018.  This is because I am just mid-way through the massive “Count Of Monte Cristo” which I have never read before and the Penguin edition amounts to 1276 pages of pretty small print.  If I get through these it will end up being perhaps the longest book I have ever read.  I’ll let you know how I get on but that will unlikely be before the new year.

With newspapers, bloggers, websites coming up with their favourite books of the year I thought I would delay my choices until the very end of 2018 but look at some of the books I have missed out on reading this year.  So here is my Top 10 what I should have reads.

Snap – Belinda Bauer (Bantam Press)

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The first popular crime novel to be longlisted for the Man Booker Prize but it seems not even the presence of huge fan Val McDermid on the judging panel could get this onto the shortlist.  I read Bauer’s dark debut “Blacklands” in the year it was published and enjoyed it but have not read any of her others.  Luckily, I found a copy of this on the library shelves and have borrowed it so Alexandre Dumas-willing I will get round to it before hoards start reserving it because of its regular appearances on “best of the year lists”

Chalk Man – C J Tudor (Penguin)

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Another one I have out from the library.  This debut has been compared to Stephen King and is set in 1980’s Britain. Now out in a paperback edition featuring high praise from writers of the calibre of Lee Child, John Boyne, Celia Aherne, Kimberley Chambers, Julia Heaberlin and King himself.  Can’t wait to read this one.

Seven Deaths Of Evelyn Hardcastle – Stuart Turton (Raven)

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Another much praised debut.  Val McDermid had it as one of her books of the year.  The little I know about it sounds a bit like Kate Atkinson’s “Life After Life” in structure (an all-time favourite) within a classic murder mystery frame.  I saw this going cheap one day as a Kindle Daily Deal so it is sitting there waiting for me.  This has been shortlisted for the first novel Costa Awards, a National Book Award and scooped the independent booksellers Books Are My Bag novel award.  Not sure why there is an extra half of a death in the American title.  Suppose I will have to read it to find out.

Washington Black – Esi Edugyan (Serpent’s Tail)

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A Booker shortlisted roller-coaster of a novel and the only one that made me feel sorry I did not read the shortlisted titles before the winner’s announcement this year as I have done the past couple of years.  I do have this Canadian author’s earlier novel “Half Blood Blues” unread on my bookshelves and I may just have to start to this but I am certainly looking forward to discovering her writing in 2019.

Warlight – Michael Ondaatje (Jonathan Cape)

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A book which is certainly popping up on best of the year lists.   It was championed by Kamila Shamsie in “The Guardian’s” look back on the year.  I have never read any of  the Sri-Lankan born Canadian novelist Ondaatje’s 8 novels before, not even “The English Patient” (nor have I seen the film version) but this novel set in London in the aftermath of World War II seems to me to be a tempting place to start.  I had this as one of my 2018 highlights at the start of the year.

From A Low And Quiet Sea – Donal Ryan (Doubleday)

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I loved, loved loved this Irish writer’s debut  “The Spinning Heart” and was published in NB magazine citing it as one of the best books of the 21st Century, but since then, amazingly I have not got round to reading any of his three subsequent novels.  This was championed by Jonathan Franzen in The Guardian and is on the shortlist for the Costa novel Award.

Transcription – Kate Atkinson (Doubleday)

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This British author’s “A God In Ruins” is well in the running for being named my best read of 2018.  I wanted to read her Jackson Brodie series of novels next but then I borrowed this as a library e-book.  I’ve not noticed it much on end of year lists and a few people I know who have read it have been a bit lukewarm about it but she is one of our greatest living novelists so I really should find out for myself .

Lethal White – Robert Galbraith (Sphere)

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I’ve read all the others so of course I’m going to get round to this but I’m a little put off by the sheer size of the hardback so may need to wait until it arrives in paperback.  It does seem to be generally getting the thumbs up but most seem to mention that it is too long.

Take Nothing With You – Patrick Gale (Tinder Press)

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Admittedly I’ve got the odd Gale gap in my reading history but he is one of my Top 10 most-read authors.  I would imagine that this is a quieter, understated, less showy novel than some on display here so I might need to get myself into the right mood for that.  He can absolutely blow me away as a writer but this does not happen every time.

My Love Story – Tina Turner (Century)

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My pick of all the non-fiction I’ve missed this year.  I was a little concerned that this autobiography might have been a little air-brushed but reviews seem to say that this is not the case.  This living legend and performer of one of my 100 Essential CDs got huge publicity for this publication as it was her version of what has been an incredible life.  I haven’t rushed to buy this because I did read “I, Tina” written alongside Kurt Loder and I wondered how much of this was a rehash of that.  But I will get round to it.

Anyone looking for a last minute Christmas present for this reviewer could start here….!

 

 

 

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100 Essential CDs – Number 98– Tina Turner -Simply The Best

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Simply The Best – Tina Turner (Capitol 1991)
UK Chart Position – 2

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Seven years and four smash hit albums into perhaps the greatest career resurgence of all time came this 18 track compilation with a title plucked from her back catalogue which is just perfection itself for a greatest hits package. In the UK album charts it reached number 2 and had a run of 141 weeks, which is only bettered by her return to chart glory album “Private Dancer”, which is one of the seminal albums of the 1980’s but just a little too patchy musically to be considered essential.

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There’s also a degree of patchiness here but that is because the powerhouse that is Tina Turner is able to encompass musical genres like probably no other female performer. She is probably unique in her ability to hover around hard rock and classic rock sounds to electronic dance, deep soul, disco and power ballads. Probably because of this it makes it unlikely that the average listener would like everything she does. I had bought the first three post-comeback solo albums on vinyl and on each one there were tracks I didn’t respond that positively to. By this album’s release CDs were in the ascendancy and tracks could be more easily skipped. There does seem to me to be some obvious omissions from the gems of the preceding albums and certainly a couple of tracks that aren’t “simply the best” but the overall package just slips into that essential bracket.

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Annie-Mae Bullock was born in Nutbush, Tennessee in 1939 and became one of the pioneers of R&B after she met and married Ike Turner. The whole Ike and Tina Turner concept is a thrilling one on a par with the early R&B greats Ray Charles, Jackie Wilson and most obviously James Brown, of a revue-type live show that would blow the socks off anyone who experienced it, with Tina and the Ikettes blazing over the rock, soul and R&B arrangements. This was a force that perhaps did not always come over on record, especially with the more primitive recording methods of the day but as a duo Ike and Tina scored a slew of US R&B chart hits and broke through on a commercial level nationally three times in the years 1960-62 with “A Fool In Love” (#27-1960), “It’s Gonna Work Out Fine” (#14-1961) and “Poor Fool” (#38-1962).

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In the UK chart action did not happen until the mid 60’s when the championing by acts such as The Rolling Stones gave them greater exposure. By this time Ike and Tina were already something of a veteran group. The whole change in the pop music landscape from the arrival of the British Beat groups meant that there were very few acts from the pre-Beatles era getting chart action by 1966. The only track recorded with Ike present to make the cut is the phenomenal “River Deep Mountain High”. Producer Phil Spector saw in Tina’s voice the potential to convey what he believed would be the biggest pop record of all time and compliment his “wall of sound” like no other artist had before. The lack of US success is said to be one of the factors which pushed this vulnerable man over the edge into some very dark places indeed. The sheer pomp and overblown nature of this track appealed more to us Brits who saw it as the rock classic it undoubtedly sand it became the duo’s first UK hit when it reached number 3 in 1966, with a re-issue getting to number 33 three years later. You could not have a “Simply The Best Compilation” without this. The same goes for the autobiographical track which first hit in 1973, the UK#4, US#22 chart swansong “Nutbush City Limits” but here it is presented in the Tina solo 1991 re-recording which rooted the song firmly in the clubs and got to number 23. I’m usually very sniffy about re-recordings but this is one case where I think the later version does have the edge as the CJ Mackintosh and Dave Dorrell production gives it an extra depth from the original that is very exciting.

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Perhaps one surprising omission on this CD is a track which has come over the years to signify Tina Turner and a keen choice for impersonators.  “Proud Mary” was one of their biggest US hits reaching #4 in 1971 but never made the charts over here which might explain why it has here made way for more successful outings.

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We all know what happened in the mid 70’s. After years of domestic abuse Tina walked away from Ike, her recording career and scheduled live dates. With a hot-bed of lawsuits nobody in the business was initially brave enough to take a chance on really getting behind Tina the solo artist and she worked from the bottom up playing diners and small venues. It was the British who came to the rescue, namely Martyn Ware and Ian Craig Marsh of electro outfit Heaven 17 who brought her to the UK to record a track for their proposed album of cover versions under the BEF banner, a project that would also bring back Sandie Shaw, Paul Jones, Paula Yates and er….Gary Glitter back into the recording studio. Tina ripped up the Temptations “Ball Of Confusion” and the producers, knowing they were on to something allowed her to do the same on a cover of Al Green’s “Let’s Stay Together”.

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I remember seeing Tina Turner perform this on “The Tube” just as it was released. It seemed incongruous that a 45 year old woman would be belting out a song from a previous decade in what was then considered a trail-blazing “yoof” show obsessed with finding the next big thing but Tina herself was fantastic and did become, probably against all odd,s the next big thing. Signed to Capitol records this second-wind debut got to number 6 and put her back into the US charts at number 26, her first chart action for 11 years.

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I really liked this electronic direction but it was perhaps unlikely to continue to pay high dividends worldwide so it was to producer Terry Britten who came up in conjunction with Graham Lyle (well known as one half of duo Gallagher & Lyle) a world-beater of a power ballad. “What’s Love Got To Do With It” was aided by an MTV friendly video. It was the days of video jukeboxes and I remember being on holiday in Cornwall with friends in a small pub where time and again we put money in to watch the video of this, it was purely for the moment when she wobbles in her high heels. In 1984 this seemed like the epitome of glamour! The single reached number 3 in the UK, topped the US charts instantly placing Tina at a level that she had never been before in the 24 years since her chart debut.
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The return-to-form album “Private Dancer” had other gems. For me the best thing she has ever done is the title track a Mark Knopfler song which envisages Turner as a bored performer in a sleazy nightclub and the track gives off a sleazy ennui that I think she has never bettered. As the 5th single from an album which everybody already had it got to number 26 in the UK but was her third top 10 hit in a row in the US reaching number 7. Preceding this in the charts was the rockier “Better Be Good To Me”(US#5) which only made #45 in the UK and I would have sacrificed it for her UK Top 40 version of the Beatles’ “Help” with its deep soul edges. Another highlight from this album was Tina’s version of Ann Peebles soul standard “I Can’t Stand The Rain” which was better known over here as a disco song by Euro-act Eruption which had got to number 5 in 1978. This was put out as a sixth single from the album which was one too many for the record buying public.

tina6Tina as Aunty Entity in Mad Max- Beyond Thunderdome

Tina’s strong visual image and household name brought Hollywood calling for a memorable appearance in “Mad Max- Beyond Thunderdome”. Tina had previously appeared as The Acid Queen in the film of The Who’s “Tommy” before her big chart comeback but this was a much bigger proposition and her level of success meant that any contribution to the soundtrack would bring extra exposure for the film. “We Don’t Need Another Hero” is a massive power-ballad which hit big reaching number 2 in the US and 3 in the UK. Her voice is perfect for film soundtracks. I prefer her Bond Theme “Goldeneye”, released in 1995, four years after the release of this CD.

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Her second studio album “Break Every Rule” was another mixed bag. I really like the song David Bowie wrote for her “Girls” but the hitmakers Terry Britten and Graham Lyle were on hand to bring her more chart success with the very good “Typical Male” (US#2,UK#33) which is the track chosen to represent this album. 1989’s “Foreign Affair” boasted this CD’s sort-of-title track “The Best” (US#15, UK#5) “I Don’t Wanna Lose You” (UK#8) and “Steamy Windows” (UK#13, US#39). This became her first number 1 album in the UK but success in her homeland was more muted with it fading just outside the US Top 30. The Stax/Atlantic influenced “Be Tender With Me Baby” was also a UK hit reaching number 28.

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There’s a live recording of Robert Palmer’s “Addicted To Love” which is so-so and I always thought that the pairing of Tina with Rod Stewart for a version of Marvin Gaye and Kim Weston’s “It Takes Two” was a bit of a lazy song choice and doesn’t add really anything to the original. It felt as if this superstar pairing was put together to cash in on the 1990 Christmas market and it did give them a Top 5 UK hit.

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“Simply The Best” is fleshed out with some new material, pulling in buyers like myself who already had the studio albums. These gave her three more UK hit singles, the biggest and best of which “The Way Of The World” reached number 13 but both “Love Thing” (#29) and “I Want You Near Me” (#22) kept her in the UK charts. None of these tracks, however, were US hits where the release of this whole album was not well received.

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There are other Tina Turner compilations available which certainly bring the story up to date and the date of this release means that other career highlights are not featured. Tina’s finest studio album “Wildest Dreams” was released in 1996 and that just misses out on my Essential CD countdown . Her last studio album to date 1999’s “Twenty Four Seven” is also a very enjoyable listen. If I hadn’t already had this album in my collection you might have found me recommending the 48 track 3-Disc “Platinum Collection” from 2009 and looking at the track-listing I’m thinking I might treat myself in the future, perhaps as a celebration of the artist’s 80th birthday in 2019, but for those who think that might be too much Tina this is the ideal choice.

Simply The Best is currently available from Amazon for £4.98 and used from £0 .09.  It can be downloaded for £5.99.  In the US it is available from $11.99, used from $0.81 and downloaded for $11.49.  In the UK it can also be streamed on Spotify.