The Beresford by Will Carver

From the PR: “Just outside the city – any city, every city – is a grand, spacious but affordable apartment building called The Beresford.

There’s a routine at The Beresford.

For Mrs May, every day’s the same: a cup of cold, black coffee in the morning, pruning roses, checking on her tenants, wine, prayer and an afternoon nap. She never leaves the building.

Abe Schwartz also lives at The Beresford. His housemate Smythe no longer does. Because Abe just killed him.

In exactly sixty seconds, Blair Conroy will ring the doorbell to her new home and Abe will answer the door. They will become friends. Perhaps lovers. And, when the time comes for one of them to die, as is always the case at The Beresford, there will be sixty seconds to move the body before the next unknowing soul arrives at the door.

Because nothing changes at The Beresford, until the doorbell rings…”

How to review a novel as devilishly brilliant as The Beresford… that’s the question. I’m still not sure that I have the answer.

Four books in now and I’m never sure what to expect from a new Will Carver novel. Hang on, that’s not entirely true as Carver has well established prior in creating ridiculously well-crafted novels that are wickedly sharp in both style and dark humour, hugely addictive and filled with his own incisive takes on human nature and perceived reality.

What I mean is that I open a new Will Carver novel with anticipation to discover what new twist awaits and it’s always something unexpected and brilliant. The Beresford doesn’t disappoint on that level – or any level in fact.

Will Carver has a very distinctive style and narrative that’s a real joy to read. It’s deceptive; with seemingly little effort he’s able to slip in a huge amount, a wealth of details being slipped in little by little until you’re deep into it and haven’t realised you’ve been holding your breath for the last few chapters.

The Beresford absolutely rocks along at a great pace and every page manages to deliver something fiendishly clever and another hook that propels you on to the next.

Yes, you could say The Beresford is a dark, and at times very dark, thriller / horror and you wouldn’t be entirely wrong but it’s done in way that almost takes delight in the absurdity – Abe searching for ways to dispose of a dead body only to kick himself for forgetting to use private mode – of the situations rather than the gore or shock. It’s a very intelligent dark thriller, then, told with a knowing wink and grin that makes for a wickedly good read that I didn’t want to end.

My thanks as always to Karen at Orenda Books for my copy of The Beresford and to Anne Cater for inviting me to review as part of the blog tour.

The 20 Guitarists List

Lists can be such a pain in the arse sometimes… and yet I’m seemingly addicted to making them. Take the whittling down – this one has taken an AGE to get together since seeing Jim over at Music Enthusiast’s some time ago now along with that of Aphoristic Album Reviews‘ slightly shorter list, especially when combined with my procrastination.

Then there’s the ordering – how do you get around that? Simple – this list isn’t in any order what so ever.

What about the title – well this isn’t a ‘Greatest’ list, there’s no way I’d ever attempt to claim that, so the less snappy title for this is actually ’20 Guitarists That I’ve Dug for Years and Will Always Tune In For’. Which is what it is, it’s 20 of my favourite players – not always the most technically proficient or even considered as a virtuoso types but those that nonetheless make the music I enjoy consistently great through their playing. That would make an even less snappy title though.

As is always the way there are plenty that don’t make the list but continually skirt the outside like non-ticket holders hanging around an outdoor show’s fence trying to grab a sonic snatch of their favourite song. Players like Mike Campbell inject a gorgeous sound into some of my favourite songs while the fluidity and wash of sound from the likes of The War On Drugs’ Adam Granduciel and his pal Kurt Vile are happy mainstays in my ears lately and if I could make this longer they’d be on the long list for sure as would Wilco’s Nels Cline or even Joe Perry or John McLaughlin… you get the point. But I needed to pick an arbitrary number and stick to it or this would never leave the notebook where I make these lists let alone spend the wrist power typing this thing up….

So, with that in mind, let’s get going so that I can think about that ‘Drummers list thing’:

Nils Lofgren

A list has to start somewhere even one that’s not in any particular order. So I’ll start off with sideman extraordinaire, a warm and extremely talented dude: Nils Lofgren.

Nils came to attention as a teenage prodigy having played on Neil Young’s After the Goldrush at just 17 and while the emergence of punk and the shift in musical tastes may have put pay to his burgeoning solo stab at stardom, he continued to put out high quality albums before joining Bruce Springsteen’s E Street Band for the ‘Born In The USA’ tour. He’s worked with the Boss solidly since the E Street Band’s reunion (as well as the Greatest Hits reunion of sorts) as well as regular stints in Neil Young’s band Crazy Horse and continuing to record and tour as a solo player.

He’s a ridiculously gifted player – capable of pulling out searing leads and picking out tender acoustic work, whether he’s setting fire to other people’s songs (see his reading Springsteen’s ‘Youngstown’) or his own.

He caught my attention as a solo artist when I heard the acoustic take on ‘Black Books’ on the Sopranos way back in 2000, I could hear his solo on that (from about two and a half minutes thru to the end) daily and still love it.

Mike McCready

Mike McCready may not be on a lot of lists but the dude should get more credit for sure… he toned down his theatrics and finger-tapping to bring a blues-influenced tone and ability to the Seattle scene in a subtle but important way that no other ‘grunge’ band did.

Often referred to as Pearl Jam’s ‘secret weapon’, McCready had just begun moving away from the 80’s metal sound having gotten into Stevie Ray Vaughan just as the band got going and it’s his beautiful tone and leads that set Pearl Jam apart for me and got my ear immediately.

His songwriting contributions to the group are always worth tuning in for as his ability to take another member’s song ‘Nothing As It Seems’ and take it to a whole new level with his guitar work while live he absolutely let’s rip whether it’s absolutely rinsing the arse off ‘Even Flow’ or tearing through a perfect take on ‘Eruption’ into ‘Yellow Ledbetter’.

David Gilmour

So I have this memory… must be before my teens, before I got a CD player even so I’d put that to when I was 11… it gets foggy in the timeline.. anyway this much is concrete: I’d got one of those old midi-systems of the 80’s, you know a black plastic Aiwa thing with a twin tape deck and radio and turntable up top all in one block as opposed to the hi-fi separates of old (which, fittingly, I’m now back to). At some point I decided to get the turntable working – even buying a new cartridge for £1.50 – that’s how vividly I remember it, if only they were that cheap now.

Once I’d got it working – fuck knows why I’d done so or what I tested it on – my Dad used the opportunity to blow the dust off a couple of LPs to get me to listen to – Led Zeppelin’s IV (don’t worry, we’ll get to Jimmy) and The Dark Side of the Moon. Hearing that and David Gilmour’s guitar work was pretty mind blowing. Then, a few years later, I heard ‘Comfortably Numb’ and that second solo… fuck, I still have to stop what I’m doing and listen to it intently – what Gilmour can do with just a subtle bend. Floyd a heavy mainstay in my ears ever since.

Gilmour’s playing elevated Pink Floyd and drove their direction after the departure of Syd Barrett as much as Waters’ songwriting – without Gilmour’s playing the Pink Floyd sound we now all know wouldn’t exist. His own songs may veer toward the floatier stuff (see ‘If’ or ‘Fat old Sun’) but his playing is transportive – hugely melodic and often sprawling solos with perfect tone that I can never can get enough off.

Mark Knopfler

Imagine the brass balls on Mark Knopfler; laying down your band’s first album full of guitar-hero moves at a time that punk was ascendant and adored by the music press, and then laying down its last at a time when alt-rock and grunge was taking over. A foolish move that would’ve failed spectacularly but for one thing: Knopfler’s unassuming and quiet confidence in his guitar playing prowess.

Surely everyone by now knows ‘Sultans of Swing’ – that solo and that tone are unmistakeable and no matter how good that street performer you’ve seen doing it on YouTube is, nobody can play it in the same way and with the same feel. I read that Knopfler arrived at the famous tone by mistake – his pickup getting stuck between settings -but there’s no getting away from his sheer skill as both a songwriter and player. That tone changed in later Dire Straits records – probably as he switched to using PRS and Les Pauls as much as his red Strat – and evolved into a much warmer, enveloping tone that I could just bathe in.

I grew up with those first four Dire Straits records on heavy rotation and I’ll still pick em up and play em regularly now (Love Over Gold is easily their finest) but then I’ll also just as happily put on one of his solo records because while – some nine studio albums in – they’re no-longer as ‘all gold’ as they used to be, through those Dire Straits albums, the soundtracks, the side bands, guest spots on Bob Dylan albums and solo records the common thread is a guitar tone and fluidity that’s always worth tuning in for.

Eddie Van Halen

Oh man… Eddie Van Halen is surely on so many of these lists it’s insane. I’m not a Van Halen fan by any stretch (I’d stick my flag in the Van Hagar camp, mind, as I can’t stand ‘Diamond’ Dave) but Eddie’s playing is something else… as I’ve said before, a real ‘light the touch paper and stand back’ player who could dazzle like no other.

VH’s brand of riff-heavy stuff isn’t my cup of coffee but EVH’s playing… what he could do in terms of harmonics, building textures and then pulling out a solo with so many ‘how the fuck?’ moments stood both his band and him apart and always worth listening to especially later when it became more song-oriented than blowing open a bag of tricks and would never fail to through in a staggering solo even if the song was less than stellar (see ‘Humans Being’ below). That I’m writing about the dude in past-tense now still seems shit.

Bruce Springsteen

Given how Springsteen seems permanently associated with his butterscotch telecaster, his first album didn’t hint at a solid guitar player at the helm. But while he may well have been signed as a thesaurus-swallowing ‘new Dylan’ acoustic singer / songwriter, but before Clive Davis signed him to Columbia, Bruce Springsteen had been honing his guitar chops for years with hours upon hours of daily practice and playing “loud guitars and a Southern-influenced rock sound” in Steel Mill. Since the emergence of those chops on record – ‘Kitty’s Back’ kicking in on The Wild The Innocent and the E-Street Shuffle – Springsteen’s guitar playing has been at the centre of some of his best songs. Which seems like an idea for another Springsteen post…

He might not be the most technically proficient of players but he’s all about soul and feel and his guitar lines on songs like ‘Born To Run’ are as iconic as the guitar on that album’s cover. Whether he’s picking out an acoustic melody line on ‘Blood Brothers’, chiming teak-like tone on his later ‘other band work’ or those gorgeous twangy lines of ‘Tougher Than The Rest’ or pretty much all of the guitar work’s bite and crunch throughout Darkness of the Edge of Town, Springsteen’s guitar work always gives his songs – and live performances – the edge.

Stevie Ray Vaughan

You know how sometimes you can hear something and, for reasons unknown, it’s just the wrong time, wrong place for you to get into it? Like your receptors are tuned in to the wrong frequency or something? Happened to me with Stevie Ray Vaughan: I’d heard about the dude being a guitar player of excellence, bought The Essential and just… it didn’t click there and then. BUT a few years later, holy fuck did it click. Can’t remember when but I was sitting chowing down a burger and I heard ‘Empty Arms’ and I just saw there not chewing for four minutes, how had I not paid that cd any attention… I picked that Essential album up as soon as I got home and I’ve been getting as much SRV as possible since. That monster tone and skill; sit up, shut up, pay attention and pick your mouth up off the floor.

Jimmy Page

I mean, fuck: Jimmy Page… do you even need to explain? I remember hearing ‘Stairway to Heaven’ in that same sitting as Dark Side of the Moon as being revelatory… John Bonham sitting around for the best part o five minutes and as soon as he begins to get going Jimmy switches to solo mode and unleashes and absolute fucking beast. He’s gotta be the master of dynamics – ‘Ramble On’ is a benchmark – and can swing from great acoustic rhythms to monstrous riffs and scorching solos, not just on the same album but often on the same song.

Jeff Beck

And it’s hi-ho silver lining, and away you go now baby…

How Jeff Beck ever released that is beyond me but I’m sure he gets plenty fed up with it now… as Jim over at Music Enthusiast pointed out – it’s impossible to think of a rock player ‘that’s dabbled in so many genres’. Whatever genre he goes for though, one thing that’s constant is that Jeff Beck is an astoundingly great guitar player.

Prince

Back when I was starting to pay attention more to music the radio was doing a massive disservice to Prince – wasn’t helped by the whole T-A-F-K-A-P / Squiggle thing, sure – and my only real exposure was to songs like ‘Kiss’, ‘Gold’ or ‘1999’ ‘Little Red Corvette’. I mean good songs all (except for ‘Kiss’) but nothing that made me go ‘holy fuck that guy can play’ and not just because using language like that would get my mouth washed out with soap. BUT, man when I heard Purple Rain…. sure it’s his most guitar-heavy album but holy fuck that guy can play! Rock balladry can be a mixed bag but the solo on ‘Purple Rain’ is easily the benchmark by which all others are judged and can’t hit.

I’m not a huge Prince fan – not all his music blows my mind but when he strapped on his guitar it was because he knew not only could he break out in the middle of a song and play the arse off of it, but he could integrate it into a song like few others even when it’s not the strongest thing in the mix. His playing was not only versatile and inventive in style but he could go from from 0-100 in seconds flat – take how he turned the usual circle-jerk Rock n Roll Hall of Fame jam of ‘While My Guitar Gently Weeps’ and blew it into the stratosphere with no rehearsal!

Johnny Greenwood

Imagine trying to wreck a song and having your guitar’s ‘eh-eh. eh-eh’ stuttering sabotage attempt sounding so good it not only makes the mix but makes the song? That’d be Johnny Greenwood and ‘Creep’. A hugely talented player – equally adept at picking up the bass, piano, viola or drums – it’s Greenwood’s versatility and skill that’s helped push Radiohead from their early days skirting the very edges of Britpop to pushing the definition of alt.rock with OK Computer and then pushing further still with each subsequent album with Greenwood always weaving something brilliant around a song’s parts.

Peter Green

No discredit to Lindsey Buckingham, he’s a fine player for sure, but for me Fleetwood Mac and their ultimate guitar sound is the glorious Peter Green and Danny Kirwan era. Green, specifically (or ‘The Green God’ as he was briefly referred to having replaced Clapton in John Mayall and the Bluesbreakers) had something special, from creating and tearing through blues-based tunes like ‘Oh Well (Part One)’ to those gorgeous instrumentals like ‘Albatross’, I can listen to *that* Fleetwood Mac and Peter Green’s playing until the cows come home.

J Mascis

There are some artists and bands that I’ll be jumping on that ‘pre-order’ link the second a new album is announced and Dinosaur Jr and Mascis’ own solo work is top of that pile and it’s all down to J Mascis’ guitar playing. Having burst onto that noise-rock scene with Dinosaur Jr’s take on ‘ear-bleeding country music’ with melodies buried in fuzz-tone up to their arse, Dinosaur Jr’s sound shifted slightly as they signed to a major in time to capitalise (well, to a limited extent) on the praise being heaped on them by the era’s alt-rock champions.

Mascis’ playing has continued to evolve and swing from epic riffs to soft melodic tunes but all with one thing in common: it’s only ever a matter of time before Mascis detonates them with a scorcher of a solo, and I’ll never get tired of that.

Chuck Berry

I can’t lay any claim to being schooled on rock and blues history from a young age, I was born in 1980 – most music on the radio while my hearing was developing was tosh. My first exposure to a Chuck Berry riff was probably the same as so many others of my generation – “Chuck, Chuck! It’s MarvinYour cousinMarvin Berry! You know that new sound you were looking for? Well, listen to THIS!”

But then you go back and hear the original and find out what Chuck was doing with Chess… man, it was like finding the skeleton of the missing link. I’ll put on a comp his first ten years and hear the blueprints for everything I dig now right there: he took the soul and tone of blues licks, sped em up and strapped em to the burgeoning rock n roll sound and seemingly invented rock guitar. More than being able to come up with a wicked lick, Chuck’s songs and lyrics can be fucking spot on too and the fact that live he’d play with pick-up bands and still bring the heat… there’s a reason he’s the legend he is.

Thurston Moore

Thurston Moore rubbing shoulders with Chuck Berry… such is the joy of these lists. What Thurston (in combination with Lee Ranaldo) bought to the front with their playing is a pretty unique sound that I dig on so many levels – experimentation with tunings, prepared and altered guitars, jams that cascade into feedback before pulling back the threads into the melody and thrash-like strumming to build hypnotic rhythms. This isn’t guitar playing of the ‘guitar hero’ style but it never pretends to be either. Standing up front with Thurston’s stack next to me probably cost me a percentage of hearing in my right ear but I’d give it again.

George Harrison

Yes, I know, George didn’t play the solo on ‘While My Guitar Gently Weeps’, but he did write the damned thing and write and play on those gorgeous tunes like ‘Something’ and ‘Here Comes The Sun’. Not to mention his multitude of contributions to the Fab Four’s songs and a plethora of amazing solo tunes too. Deceptively uncluttered in it’s beauty and always hitting the sweet spot in tone.

Stuart Braithwaite / Barry Burns (Mogwai)

It wouldn’t be my list if there wasn’t a nod to post-rock in here somewhere and the guitar work of Stuart Braithwaite and Barry Burns has always been what sets Mogwai apart for me in a genre that’s stuffed with great players.

Perhaps down to their influences in early genre pioneers like Slint or Kevin Shields’ My Bloody Valentine, developed a sound of their own built on towering, repeating riffs that were deceptively simple while weaving intricate melodies to build this massive sonic space that they could either explode and pick up again or find a hidden gear somewhere and blow your speakers out.

As the band have evolved to incorporate an increasing away of sounds and influences over their 25 years the guitar work has remained the powerful heart.

Doug Martsch (Built to Spill)

Bringing guitar-hero moves and freakouts into alt. rock style with Built to Spill, Doug Martsch creates these brilliantly arranged guitar-centric songs that I just fucking lap up – there’s always something new I discover on repeating listens from those odd timing signature changes, odd structures and mid-song breakdowns that dissolve into unashamed guitar heroics before bouncing back in. And he does it all with the same guitar he’s used for the last couple of decades (a Fender Super Strat with wiring modded to a single pick-up for those that are curious) and without any theatrics – Built To Spill went from being indie-rock down the middle with their first couple of albums to Martsch’s inspired move to bring jam-band style workouts into the genre and made it seem an effortless combination, becoming one of indie-rock’s essential guitarists in the process.

Jack Rose

I came to Jack Rose’s music by pure chance and too late. Hearing Rose’s guitar pieces was like being hypnotised and I’m still gobbling up as much of it as I can.

He took the experiments and sound of players like John Fahey as his base and created these brilliant acoustic pieces on 6 and 12 strings that took that finger-picking style, blended it with dissonance and Eastern elements that just blew my mind and opened me up to a whole new genre and way of playing that I’ll often get lost in.

Thurston Moore was a big fan – when Rose died of a heart attack in 2009 at 38 years old, Moore recorded and released an album 12 String Mediations for Jack Rose as a tribute.

Jimi Hendrix

I mean, come on, it’s a no-brainer, right? If Chuck Berry invented modern rock guitar then Jimi, literally, set fire to it and kicked it into a whole new game.

And, should those videos not load and the list is preferred in digestible Spotify-flavoured chunks:

Girls Who Lie by Eva Björg Ægisdóttir

From the PR: “When single mother Maríanna disappears from her home, leaving an apologetic note on the kitchen table, it is assumed that she’s taken her own life – until her body is found on the Grábrók lava fields seven months later, clearly the victim of murder.

Her neglected fifteen-year-old daughter Hekla has been placed in foster care, but is her perfect new life hiding something sinister?

Fifteen years earlier, a desperate new mother lies in a maternity ward, unable to look at her own child, the start of an odd and broken relationship that leads to tragedy.

Police officer Elma and her colleagues take on the case, which becomes increasingly complex, as the list of suspects grows ever longer and new light is shed on Maríanna’s past – and the childhood of a girl who never was like the others…”

Girls Who Lie is the second book in the ‘Forbidden Iceland’ series but having not read the first I can tell you not only that it works brilliantly as a stand alone but that this right here is an ice-cold slab of the good stuff; a brilliant helping of Nordic Noir that hits the spot from the word go!

Eva Björg Ægisdóttir is a seriously talented author to keep an eye on. Her prose is succinct yet evocative, superbly portraying both those glorious Icelandic locations and the subtlety of human emotion in her characters.

Girls Who Lie is fantastically well plotted and is one of those practically delicious mysteries where picking at a thread reveals a massively complex story that spans years and generates plenty of twists and turns that keep you rooted to the spot.

The split narrative serves as a great device for both ratcheting up the tension and painting the story with a much broader stroke. Eva Björg Ægisdóttir creates compelling and genuine characters and has a real skill when it comes to portraying their interactions that’s a real joy to read.

At times dark and harrowing while managing to keep the balance with humour and humanity, Girls Who Lie is a massively rewarding, rich and detailed thriller that I enjoyed every page of.

My thanks again to Karen at Orenda for my copy Girls Who Lie and to Anne Cater for inviting me to review as part of the blog tour.

One Last Time by Helga Flatland

From the PR: “Anne’s life is rushing to an unexpected and untimely end. But her diagnosis of terminal cancer isn’t just a shock for her – and for her daughter Sigrid and granddaughter Mia – it shines a spotlight onto their fractured and uncomfortable relationships.

A spur-of-the moment trip to France acts as a catalyst for the three generations of women to reveal harboured secrets, long-held frustrations and suppressed desires – and to learn humbling and heartwarming lessons about how life should be lived when death is so close.

With all of Helga Flatland’s trademark insight, sharp yet warm wit and deep empathy, One Last Time examines the great dramas that can be found in ordinary lives, asks the questions that matter to us all – and ultimately celebrates the resilience of the human spirit. An enchantingly beautiful novel that urges us to treasure what we have and rethink how we live our lives, from one of Norway’s most distinguished literary novelists.”

It seems like only yesterday but almost two years ago to the day I read and loved Helga Flatland’s Modern Family so I was itching to get my hands on her latest. Then let’s get straight to the point here: One Last Time is an astoundingly good novel and Helga Flatland is a writer of tremendous talent. A touching and skilfully written literary examination of family relationships and the fragility of life, this really is a slab of the good stuff.

I recently read an old interview with Jonathan Franzen wherein he pointed out that he was initially “deeply ashamed, cripplingly ashamed” of having, in The Corrections, written a book about family – thinking nobody still cared enough about family. I mention this here for, in a way that brings that novel to mind, Helga Flatland has delivered a brilliant literary exploration of family and the relationships within that’s beyond ‘a novel about family’ – examining the psychological connections and baggage we carry, the dynamics between generations and how these shift in the face of upheaval and, of course, grief and how we cope in the face of approaching death, all within a gloriously packed 240 pages.

This is a wonderfully insightful, moving and engrossing novel and reading it is like reading a master of the written word at play.

Flatland has a narrative style to be savoured, it’s both warm and witty and, in its economy of words, quietly powerful and allows her to tackle heavy subject matter in a way that’s poetic and affecting, the ending moved me beyond words it was rendered so beautifully.

An absorbing and thoroughly rewarding novel, One Last Time deserves a place on as many bookshelves as possible. My thanks as always to Karen at Orenda for my copy and to Anne Cater for inviting me to review the novel as part of the blog tour.

Another round for everyone, I’m here for a little while… Angel Dream and revisiting She’s The One OST

This year marks the 25th Anniversary of Ed Burns’ She’s The One film – a pretty bland and forgettable flick the anniversary of which would probably go uncommented by most (including me) were it not for one thing: somehow the film ended up with a cracking soundtrack album provided by Tom Petty and The Heartbreakers.

Given the obvious and somewhat lengthy title Songs and Music from the motion picture “She’s The One”, what the film was gifted was the Heartbreakers’ ninth studio album and easily, as a result, one of their most over-looked gems. Produced by Rick Rubin on the back of Tom Petty’s 1994 Wildflowers and containing some songs held over from those sessions after the decision to scale it back to a single album, She’s The One OST contains some of the group’s finest moments and is always worth revisiting, 25th anniversary or not.

Back when I started getting into Tom Petty and building up my collection, this one always felt like a missed opportunity. Petty, still on that prolific songwriting wave that had fuelled what was inarguably one of his greatest albums to date – Wildflowers – and the album contains some absolute gems – take ‘Supernatural Radio’, ‘Angel Dream (No.2)’, ‘Grew Up Fast’ or ‘Zero from Outer Space’ as examples – while songs like ‘Hope You Never’ or ‘California’ gave a hint at what else the Wildflowers sessions yielded – we’d have to wait a long time for the Wildflowers and all the Rest album to show in full.

Then there’s some great choice covers too like Beck’s ‘Asshole’ and Lucinda Williams’ ‘Change the Locks’:

So what’s ‘missed opportunity’ about this? Well as good a Tom Petty and The Heartbreakers album as I feel is hiding in the mix, it’s the fact that it’s been gifted as a soundtrack to a pretty naff film that stops it reaching full flight. There are two great songs on here – ‘Walls’ and ‘Angel Dream’ but, as it’s a soundtrack and these being its themes, we get them double up with two variants of each. Don’t get me wrong, they’re great tunes but still…

We also get instrumentals in amongst those, the overall effect of which is to throw off the flow and the feeling of consistency. Writing this in 2021 I can honestly say it’s the equivalent of streaming a cracking album only to have in interrupted whenever it gets going by an advert that you can’t skip. Yes, I know, it was the age of CD and you can skip CDs but you get my point… it also means that with the doubling up of tracks and shoehorning in of instrumental bridges that it suffers somewhat from CD bloat. Given the joyous back-to-basics yet still warm and rich sound of Wildflowers the production of She’s The One OST is lacking – it’s a little too direct and simple, almost giving the feeling that there was an element of rushing to finish and release, it doesn’t do it or the songs any favours unfortunately.

Now, don’t get me wrong: for all its faults, the She’s The One OST is still a bloody fine Tom Petty and The Heartbreakers album just not the great one it could have been…..

And yet… I am writing this in 2021 and it would seem I’m not the only one (you may say I’m a dreamer) who felt that the songs here deserved revisiting. For, in the wake of Tom Petty’s early passing, his estate has been busy realising his original vision of Wildflowers as a double album and last year it was released – in varying degrees of extravagance – as Wildflowers and All The Rest. This year Angel Dream (Songs and Music from the Motion Picture She’s the One) has emerged as both an anniversary-timed release and as a pretty fitting companion to last year’s archival release.

Now, it’s hitting general release in July but a nice cobalt-coloured vinyl edition was released as part of 2021’s Record Store Day and now sits happily on my record shelves. Well, when it’s not being played that is and it’s played a lot over the last week or so. Why? Because this isn’t just a reissue. As the PR surrounding it is keen to point out, Angel Dream is more of a reimagining of that album. As if reading my mind, gone are the instrumental bridges and duplicates of ‘Angel Dream’ and ‘Walls’. Gone too are the songs that were restored to Wildflowers in last year’s release and, in their place are four new songs – two of which are Petty originals, there’s a cover of JJ Cales’ ‘Thirteen Days’ and, oh, an instrumental (just the one) ‘French Disconnection’ which at least closes the album rather than gets in the way, and an extended version of ‘Supernatural Radio’.

There’s also a subtle reordering of the track listing – running now at a slighter and tighter 12 tracks – but, most importantly is the sound. There’s been a subtle but still vital remix of Rubin’s original production that adds a gorgeous warmth and charm to the songs that was previously missing and makes it feel much more of a piece with both the time and Wildlflowers.

I’ve listened to this album a huge amount over the last week or so and I’m still not bored of it. If I could spin records in my car I’d have been running it constant, instead I’ll have to wait for general release formats as it didn’t come with a download (thanks, Warner Music). I wouldn’t go as far as to say it sounds like a ‘new’ album, more that it finally sounds like the great Tom Petty and The Heartbreakers album that was hiding in the original release, it’s not perfect but it’s damn near close. Given that the Heartbreakers’ decade was bookended by the lacklustre Into The Great Wide Open and Echo (another massively overlooked and Rubin-produced album), it’s an important reevaluation of their mid-90s output that’s definitely worth checking out when it hits the streaming and general release in July.

Pictures of records…

So… fellow blogger and instagram user David Oman over at Vinyl Supernova not only runs a cracking blog with his own takes on films and pop culture but creates fine content of his own over on ‘the gram’ (surely it’s about time somebody posed the questions to David at this point) and for the last couple of years has been interviewing members of Instagram’s ‘vinyl community’ about their record collections.

A little while ago, while I was taking a semi-break from here, he pinged some questions my way and it was an absolute pleasure to be involved. You can check it out here if you so wish.

This Is How We Are Human by Louise Beech

From the PR: “Sebastian James Murphy is twenty years, six months and two days old. He loves swimming, fried eggs and Billy Ocean. Sebastian is autistic. And lonely. Veronica wants her son Sebastian to be happy, and she wants the world to accept him for who he is. She is also thinking about paying a professional to give him what he desperately wants.

Violetta is a high-class escort, who steps out into the night thinking only of money. Of her nursing degree. Paying for her dad’s care. Getting through the dark.

When these three lives collide, and intertwine in unexpected ways,
everything changes. For everyone.

Both heartbreaking and heartwarming, This Is How We Are Human is a powerful, moving and thoughtful drama about a mother’s love for her son, about getting it wrong when we think we know what’s best, about the lengths we go to care for family and to survive.”

Louise Beech recently shared Strong Words Magazine’s review of This Is How We Are Human with its three word summary of “Autism / prostitution interface.” That’s gotta be a pretty unique description but then this is a pretty unique – and bloody great – novel.

In fact, This Is How We Are Human might just be Louise Beech’s best novel yet – it’s just so deliciously engrossing and nigh on impossible to put down. The characters are so beautifully rendered and compelling, their voices so vital and genuine. Louise Beech has a way of nailing emotions that puts her work on a different level, it infuses her characters and gets you invested in them real early on.

This is How We Are Human is Louise Beech’s seventh book, and with each of the previous five I’ve had the pleasure to read I’ve ascertained that reading one of Louise’s novels is akin to watching a Pixar film: you know that there’s gonna be an emotional punch to the delicates but you get so lost in the story and characters that you forget and then it really flaws you. This one is no exception. The emotional gamut run through the final few chapters – from edge of seat, ‘holy crap, no!’ to the heart tugging end – is her best yet.

But I’m skipping ahead a bit here… while the novel starts at the almost-end, I’d be remiss to talk about the emotional kick-in-the-pills of the ending without saying that getting there is an absolute sodding joy.

Yes it’s a bloody emotional read, tackles some heavyweight subject matter head on and with genuine skill but, perhaps most importantly, This is How We Are Human has a brilliantly compelling story line with a split narrative style that adds more punch and hook, told as it is through three key character povs, the most masterfully written of course being that of Sebastian. With this narrative Louise has given an authentic and powerful voice to someone who’s voice is often not even considered let alone heard.

There are some shocking moments in This Is How We Are Human, there are some tender moments, some painful emotional reveals and, this being a Louise Beech novel after all, some wickedly sharp and funny moments. But then that, appropriately, is the human experience and, novel after novel, Louise Beech just gets better and better at chronicling it. I’m already looking forward to her next book.

My thanks once again to Karen at Orenda Books for my copy of This is How We Are Human and to Anne Cater for inviting me to take part in this blog tour.

Everything Happens for a Reason by Katie Allen

From the PR: “Mum-to-be Rachel did everything right, but it all went wrong.

Her son, Luke, was stillborn and she finds herself on maternity leave without a baby, trying to make sense of her loss.

When a misguided well-wisher tells her that ‘everything happens for a reason’, she becomes obsessed with finding that reason, driven by grief and convinced that she is somehow to blame. She remembers that on the day she discovered her pregnancy, she’d stopped a man from jumping in front of a train, and she’s now certain that saving his life cost her the life of her son.

Desperate to find him, she enlists an unlikely ally in Lola, an Underground worker, and Lola’s seven-year-old daughter, and eventually tracks him down, with completely unexpected results…

Both a heart-wrenching portrait of grief and a gloriously uplifting and disarmingly funny story of a young woman’s determination, Everything Happens for a Reason is a bittersweet, life-affirming and, quite simply, unforgettable read.”

I’ve gone back and forth a few times on how to tackle reviewing Everything Happens for a Reason, it’s not an easy one for me to review – simply because I haven’t read a book this emotionally powerful in some time.

The blurb gets straight to the point: Rachel’s son Luke was stillborn. The events of Everything Happens for a Reason are relayed through a series of emails from Rachel to her unborn son. It’s a brilliant concept that makes for a modern take on a diary-like nature of story by ‘instalments’ while both immersing the reader in Rachel’s world and never getting away from the heart of the story – that Rachel is writing to someone she’ll never get to really speak to.

Grief is a multifaceted, complex and uniquely personal process – while it’s inevitable that people will share common elements in their experience of loss I don’t think the world stops turning for everyone in the same way. Rachel’s loss of a baby is one that I know I’d find insurmountable and Katie Allen writes with an emotional honesty and forthright nature that’s both arresting and inviting in its openness. This book broke my heart on multiple occasions yet I could not put it down.

But then that’s probably because it also made me laugh on multiple occasions too and had me gripped throughout.

Katie Allen has written a novel that’s not only a deeply moving reflection on loss and grief but is also bloody funny at times, that’s chock full of brilliant characters and happens to be wrapped around a thoroughly compelling and clever plot that takes more than a few turns for the massively unexpected.

Everything Happens for a Reason doesn’t cover an easy subject and there are times when it’s a real heart wrench but it’s also a warm, bittersweet, hugely rewarding and brilliantly written novel.

My thanks to Karen at Orenda for my copy of Everything Happens for a Reason and to Anne Cater for inviting me to take part in the blogtour.

Self-compiled; Aerosmith Pt 3

It’s been a little while (5 years almost) since I put together my ‘self compiled’ Aerosmith takes – Part 1 and Part 2 links here should you be inclined.

The idea was simple – inspired by one of Jim’s takes over on Music Enthusiast – I recreated the two Aerosmith compilation tapes I’d had kicking around in my car back in the day.

So why are we back in the Toxic Twins’ territory? Well, having dug out some cassettes from the garage recently I got to thinking that, in all likelihood, I would by now have put together a third parter of post Nine Lives material because it’s the kind of compiler I was. hence Self-compiled; Aerosmith Pt 3.

Since 1997 Aerosmith have released two studio albums of original material and one of blues covers along with some seven additional compilations shuffling the usual suspects in varying order. Perhaps not a lot to choose from then?

Well, yes and no. Just Push Play is still one of their weakest efforts but at least has a good few songs in retrospect and 2012’s Music From Another Dimension has plenty of great tunes on it, meanwhile the last two and a half decades have seen them contribute original songs to a good few soundtracks and put out solo records of varying quality (Joe Perry’s self-titled is well worth a look).

Obviously it’s not a huge wealth of material for such a vast time period but given the sheer strength of their output from the 70’s pretty much through to the end of the 90’s, it’s not too bad and there’s still enough to give a good hour or so of compilation – it’s a shame they appear to have turned into something very strange as a band of late with Vegas residencies and Joey Kramer needing to sue the band to get his spot back on the show… oh well, I’ll see how I behave in my 70s before casting aspersions…

Wave after wave after wave… Five from The Cure

The Cure have been around a while now… their debut dropped a few days over 42 years ago now.. after forming about twenty miles from where I’m currently sat.

They’ve come a fair old way since the late seventies in West Crawley and undergone the prerequisite lineup changes and issues that come with a band of that vintage, knocking out 13 albums (though nothing for over 12 years), notching up 30 million plus sales of those and being inducted into the Rock and Roll Hall of Fame in 2019 (and if you haven’t seen Smith’s deadpan response to a very excitable reporter you ought to be popping over to YouTube).

Still often tagged with the ‘goth’ label, their impressive back catalogue swings across a lot of different styles – while you’d be fair for lumping albums like Seventeen Seconds or Faith in the genre, you’d be hard pushed to say the same of songs like ‘The Love Cats’ or ‘The Caterpillar’ in there as they took their manager’s advice to explore different sounds instead of splitting up.

My interest in The Cure is nowhere near as devoted as many of their fans’. I like a good chunk of their stuff but I’m also unfamiliar with vast tracts of it. For me, they’ve made two albums that I think are unimpeachable – Disintegration and Wish – and a shit load of great songs.

So, here are five of my current favourites to get you over that mid-week hump.

All Cats Are Grey

The band’s early goth/post-punk period doesn’t feature much in the listening list for me but there’s something about ‘All Cats Are Grey’ that I always enjoy.

Pictures of You

Disintegration is easily one of the greatest albums The Cure, or anyone else, has made. ‘Pictures of You’ was written after a fire at Smith’s home had him find his wallet – complete with pictures of his wife – while going through the remains.

Plainsong

Is it cheating to have two songs from the same album? I don’t care: Disintegration is brilliant and ‘Plainsong’ is just the perfect album starter.

Bloodflowers

Apparently, Bloodflowers the album was the final instalment of a trilogy that included Pornography and Disintegration. If I’m being cynical I’d say perhaps it was more of an effort from Smith to prop up interest and sales after the reception to Wild Mood Swings wasn’t too favourable. It’s nowhere near as strong as the other members of the ‘trilogy’ but I always enjoy the title track.

From the Edge of the Deep Green Sea

On any day it’s a toss-up between Wish and Disintegration for my favourite Cure album. Wish is just such a strong album and so much more guitar-driven than its predecessor and leans into the alternative-rock sound with real style. ‘Friday I’m in Love’ and even ‘A Letter to Elise’ might be the hits that everyone knows but ‘From the Edge of the Deep Green Sea’ is the album’s centrepiece.