Reading - April 2018

Spirit Of Talk Talk by James Marsh, Chris Robert & Toby Benjamin (2012)

Talk Talk are one of my favourite bands and I bought this luxurious book in a moment of madness. It's a three part book: a band history, a broad selection of quotes from famous musicians, and  detail about the cover art, the latter unsurprising given that James Marsh is one of the authors. I guess I bought this hoping it would somehow enhance my enjoyment of Talk Talk's music (particularly given that there's never going to be any more), but of course that didn't work. Details about the artwork are interesting but parenthetical, and the many, many quotes diverting but largely irrelevant. And knowing that the participants came from pretty mundane backgrounds doesn't change how marvellous the music sounds - which is really what it all comes back to.

The Guitar Magazine (Vol 29 No 8)

Presumably these guys know their market but this month there are no guitars under £1500 reviewed, and I found the ridiculously uncritical look at PRS's carbon-copy of a Strat somewhat grating.

Set The Boy Free by Johnny Marr (2016)

I really enjoyed this, a big book but a very straightforward read. Marr doesn't get into any technical depth about his work - perhaps understandably for an autobiography aimed at the mass market - but you get the sense of how hard he's worked. The Smiths accounted for only about five years of his career, and there's plenty he's done that I wasn't aware of, so lots to go and find.

The Best A Man Can Get by John O'Farrell (2000)

By turns insightful and moving, and annoying. Parts of it read like excerpts from stand-up shows that never quite made it, which, given the author's past (and present?) as a gag-writer for a number of well-known shows and figures, could well be the case. Funny in parts, true in others, and the ending is a bit sudden and too neat, but it's enjoyably short and easy to read. 

The Tao Of Pooh by Benjamin Hoff (1982)

During the Great Book Excision of 2017, I saved this because, despite not having read it for twenty years or more, I remembered it as a sweet, charming digression into Taoism, as illustrated by the tales of Winnie-The-Pooh. Since I am sure the book hasn't changed, I suppose I must have done, because reading it now, I find it trite to the point of vacuity. Hoff's assertion that you can do the Right Thing if you will only clear your mind and listen to your Inner Nature isn't really different from memes on Facebook declaring that you can achieve anything if you put your mind to it; both embody wishful thinking that sounds lovely but says nothing. In addition, the idea that there's some sort of perfect ancient Eastern wisdom that we have somehow diverted from is clearly bollocks. (And in an odd coincidence, I found my sister also read it, for the first time in decades, but entirely independently, at the same time!)

The Vinyl Detective: Written In Dead Wax by Andrew Cartmel (2016)

My friend Nat dropped this on my desk one morning and said I had as much time as it took him to get a coffee to read the first few pages. He thought I'd like it, and he was right. I'd ordered it (from the library - only 70p to reserve a book!) within the hour. The idea is fun - basically a murder mystery centred on records - and the execution good, although I thought it was a touch too long. For some people, the tendency of pretty young women to throw themselves at the narrator might spoil it but I like that.

The Adventures of Tom Sawyer by Mark Twain (1876)

I've been reading this in spare moments on my phone for the last couple of months and have finally completed it. I originally read it in my teens, in a Reader's Digest condensed version, and while the overall shape of the story remained with me, most of the details haven't, so it's nice to revisit it. That said, I didn't find it a particularly compelling read - but as a way of passing the time while waiting for other things, it was fine.

Reading - March 2018

4:50 From Paddington by Agatha Christie (1957)

A Miss Marple mystery that potters along quite amiably. An easy read.

The Guitar Magazine (Vol 29 No 07)

Wyrd Sisters by Terry Pratchett (1988)

I like the witches, particularly Granny Weatherwax, and I haven't read this for ages. The Discworld books are often described as making people laugh out loud, but this is the first time I've read one that I remember finding genuinely funny in places, as opposed to gently amusing. The snippets of scripts that are written by Hwel, the playwright (a dwarf) are really well-done parodies.

Men At Arms by Terry Pratchett (1993)

I fancied reading this because I know it quite well, and I always enjoy re-reading books. However, I've probably over-done this one. I enjoyed it, of course, but I knew what was going to happen too much.

Maskerade by Terry Pratchett (1995)

So, onto another Pratchett, this time one I hadn't read in a while. This features the witches again, and a good-natured send-up of opera and theatre-folk. It feels a little insubstantial though, for some reason. I'm going to give myself a rest from the Discworld for a little while now.

Call The Midlife by Chris Evans (2015)

The third and least interesting volume of Chris Evans's life; less of an autobiography this time than an extended pondering on lessons learned as he enters the "second half of his time on earth". I found it rather shrill, particularly towards the end, as we hear again and again about how great his life is. He's very keen to air his new-found wisdom - such as "everyone should run a marathon!" - without apparent consideration that while such knowledge is right for him, it won't necessarily be right for everyone. Still, much of interest and pretty readable. It finishes with the announcement that he is taking over Top Gear, which is a bit of a shame since it means we don't get any analysis of that whole episode - but maybe that's for the next book.

Solo of the Month #34

There are only three chords in this month's backing track, and the third one only crops up twice anyway. That doesn't mean it sounds monotonous though, it's a jazzy, minor feel vamp, loosely based on the progression from "Unchain My Heart".

The root key here is Gm, but the other chords bring in other notes and scales and - as ever - I don't have the theoretical basis to be clear what would be "right" here. I little improvisation over it shows that keeping in Gm pentatonic sounds about right, but a bit dull. The other approach is to work out what notes are in the chords and work with those (in fact, B, whose knowledge of music theory is better than mine, suggested this as well). I probably should have done this to advance my knowledge and understanding, but I didn't have the time and couldn't really be bothered.

I experimented for a while with variations of the chords at different positions to see if the transitions inspired anything, but couldn't quite make it work to my satisfaction (one of the other participants did the same and ended up with a gorgeous sounding spy theme, much better than I would have been able to do). However, during this, I hit on the idea of playing with octaves, and decided to make this the basis of my solo.

I played through the track multiple times and eventually the shape of the solo worked itself out. So I suppose we could consider it "composed" rather than improvised. I recorded it in sections so I wouldn't forget it, and then played along with myself to get the whole solo in my head. I liked the sound of this, so I decided to have two guitars at points. The important thing there is that the two guitars are two different takes, not just the same take duplicated, because the tiny differences in timings and intonations is what gives it a sense of space.

The final take is a single pass through, since I'd learned the whole thing, and the second guitar is used to "pop" some of the key notes, as well as providing a harmony in the last four bars. Both guitars were recorded dry, just through the amp. I added a bit of EQ and compression in Reaper, but no reverb since it sounds nice without it. I used a touch of reverb to the harmony guitar to give it a slightly different position in the track. Finally, when it got to the harmonies in the last bars, I panned the guitars slightly left and right, to emphasise the change.

This was a bit of a struggle, mainly because I couldn't hear anything over the track for a long time. But the end result, a product of a solid three hours right at the end of the time allowed, is something I'm rather pleased with. It's understated and works with the track rather than sitting on top of it, I think.

Reading - February 2018

The Guitar Magazine (Vol 29 No 06)

A Short History Of Nearly Everything by Bill Bryson (2003)

Granted there's a lot to condense into one book here, and full marks to Bill Bryson for not only trying, but making it understandable, readable and entertaining - but this is a long book and I'm afraid it drags a little in places. The facts involved are amazing, of course: it's impossible to really get your head around the timescales and distances involved in a universe, and there's plenty to get your teeth into (17 pages of bibliography if you're really interested). Unfortunately it all came at me so fast it seems to be leaking out again just as quickly.

A Snowball In Hell by Christopher Brookmyre (2008)

Just grabbed for something easy and entertaining to read.

Get Fit Running by Owen Barder (2005)

Always worth checking back. This time I'm reminded that I should be scheduling one easy week in every four in my planning, and an easy month once a year. My target, in getting back to running, is to be running a 5K in mid-March, but this might be a bit too soon.

Parker Pyne Investigates by Agatha Christie (1934)

Dated as anything - it is 84 years old - but a nice little collection of short stories. These feature "Parker Pyne" but could just as easily have been Miss Marple or Hercule Poirot.

Thing Explainer by Randall Munroe (2014)

A brilliant idea, done brilliantly and done amusingly. Not only does it sustain, as an idea, but it is also genuinely educational. My only gripe - and I don't see how it could have been avoided - is that, because of the format, much of the writing is very small (and I need reading glasses), and the book is large and so cannot be read in bed, which is where I do about 50% of my reading.

Solo of the Month #33

Lynyrd Skynyrd's "Sweet Home Alabama" is the inspiration for this month's backing track, and apparently it's also the source of a fair amount of online debate about what key it's in. The chord sequence is D / C-add9 / G, so D sounds like the home key to me, but the chords would be G major. Different people hear it different ways, and I guess that's part of what makes it a memorable track.

I know the song of course, but I deliberately didn't listen to it while I was trying to find something to play over this, so that I didn't get unduly influenced. A clean-ish tone seemed appropriate to go with the strummed chords, and to start with I tried D major pentatonic (which in my head is the same as Bm pentatonic), then I tried it again with a capo the 7th fret on to see if I could get some interesting open notes contrasting with higher notes. Unfortunately nothing was working and nothing sounded fluent, so I left it for a few days.

When I came back to it, I thought I'd try something different. In fact, everything different. Instead of a clean tone, I went for the scuzziest, messiest sound I could (courtesy of a Fredric Effects Unpleasant Companion); instead of playing up the neck, I just used the bottom string (tuned down to D); and instead of trying to make a solo out of it, I tried to make a riff. I think I had something White Stripes-y in my head. Once it was done, I added the same notes in again, two octaves up for a bit of contrast.

With this kind of sound, the guitar doesn't matter as much, but what I had in hand at the time was the Yamaha SA2200. It was recorded dry; I tried adding some reverb or delay in Reaper, but the sound is so filled out that it swamps anything subtle. I settled for a bit of EQ to take the bottom and top ends out and emphasise the mids. What we have isn't brilliant, I don't think, but at least it's a bit different!

Captain Fantastic And The Brown Dirt Cowboy

Elton John
1975

An odd assortment

I'd always lazily assumed that I knew most of Elton John's output, or at least the good stuff from the seventies. But here's an album from two years after Goodbye Yellow Brick Road and I only know the sole single from it, "Someone Saved My Life Tonight". The remaining nine tracks are entirely new to me.

One problem - OK, my problem - with listening to an album that contains a mixture of the very familiar and the unknown is that it's too easy to judge the new tracks as inferior because they haven't had time to "bed in" to my mind. So I've given this a few weeks on fairly heavy rotation, which solved the first problem, but has revealed another: it's a concept album.

Actually, I was aware of this before I listened to it, and in any case, I have nothing against concept albums in principle. Hopefully we're well past the idea that they are all bloated, indulgent nonsense (thought in fairness, plenty are). Some of my favourite albums have a clear theme: The Nightfly by Donald Fagen, Marvin Gaye's What's Going On or even, according to some commentators, Goodbye Yellow Brick Road itself.

In all these cases, the theme isn't allowed to affect the quality of the songs, however preposterous the story is (hello Tommy!). Here, though, it doesn't help that the story in this case is - apparently - Taupin and John's own story. I say "apparently", since the references are fairly opaque and you'd have to be very familiar with their lives to know. Without that knowledge, the lyrics become fairly meaningless. Again, don't get me wrong: lyrics are very much a second-class citizen in my pop world and I really don't insist on them meaning anything. But somehow these seem to promise meaning without delivering it.

It seems like the concept has been given too much priority over good songs - like Elton and Bernie wanted so much to get their story out there that they forgot that, for everyone else, it's not that interesting. Maybe that's what happens when you've become superstars. It sounds like the story came first and the tunes were bolted on afterwards. I know in some respects this is actually how the pair worked: Taupin delivered the lyrics and then Elton put a melody round them - but usually the music would be sympathetic to the lyrics. Here it sounds like Elton had some tunes knocking around already and just thought they would do. As a result, while there might be a lyrical theme, musically the album is all over the place.

Having given it a lot of time, I can hum along with most of the tracks and Elton's a proven tunesmith so there's plenty to enjoy from that point of view. But nothing's grabbed me particularly and I wouldn't call it a classic.

Total Competition: Lessons In Strategy From Formula One

Ross Brawn & Adam Parr
2016

All is fair in love, war and Formula One, apparently

I used to love watching and reading about Formula 1, but the interminable politics eventually started to spoil it for me, and the more that came out about the behind-the-scenes jockeying and negotiation finished it off. The ludicrous situation that exists now, in which some teams have an officially sanctioned unfair advantage over others, is just untenable.

Nevertheless this is the third F1-related book I've read in the last month or so, and all were by people from the era in which I did follow it most actively. This isn't exactly a book about Ross Brawn, but then again it isn't really a book about anything else either. If it had a more sensational title it would be something cheesy, like "The Secret Of My Success", since what it purports to reveal, through a somewhat wearing question and answer format, is how Brawn achieved the results he did.

Although he has a technical background (and has in fact designed entire cars himself), what Brawn clearly truly excels at is management and strategy: not just race strategy, but - effectively - championship strategy, the long range planning and execution that is needed to win consistently and regularly. In the book he provides a number of insights into how he did this. There's nothing particularly surprising here from a management point of view, but his views on the specifics of that with respect to the sport are interesting, and possibly none more so for me than when it comes to the politics - that very thing that's turned me off.

Brawn says that the politics is inseparable from the sport, because if you want to win then you need a strategy, and the key part of any strategy is create the environment in which to win. Winning a race is merely the last detail in something that was prepared many months before, and any team that wants to win will use any technique it can. That might be exploiting a loophole in the regulations, or using your influence to shut one down because a competitor is using it. It could be arguing for rules to be tailored to your strengths in the name of safety. In short, it might be a whole bunch of things that aren't racing at all.

Brawn always struck me as an honest, fair, principled man, but I'm starting to wonder a little about this. He obviously does what he does for the love of it rather than the nevertheless very generous pay - much like the drivers themselves, as he observes at one point. But if you're that single-minded about success - and he's clear that you have to be - then you have to be prepared to turn a blind cheek to some of the more unsavoury characters and antics involved. I think he's still doing it, even though he was (at the time of publication) out of F1: for example, Briatore is described as "colourful" (presumably "grade A cunt" was cut by the editors).

The book is interesting, but the format grates after a while and I can't say I came away with an increased respect for Ross Brawn, I'm afraid. Maybe it lets a little too much light into magic, or maybe I'm just jaded.