Soft Machine at the 1865, Southampton (22nd November 2018)

Soft Machine 1865 22nd November

This gig was originally scheduled for  Talking Heads, where we first saw the Soft Machine (see Soft Machine at Talking Heads ) back in 2016. How can it be more than two years already? Sadly, that lovely venue has now closed, and all the bands now play at the 1865. It’s under the same management, I believe, but the 1865 has previously had less character. However, for this gig there have been tables and chairs put in, so there is a much more pleasant atmosphere.

On this occasion we took- with some trepidation- my oldest friend, MSC, who is more of an Eagles, Bruce Springsteen and Neil Young man.

Soft Machine now comprise John Etheridge, a superb and versatile guitarist who I first saw play with Stephane Grapelli; Theo Travis, a great sax player who played with Gong for quite a while, and has recently played with David Gilmour; then Roy Babbington on bass and John Marshall on drums, both now in their 70s.

In their 70s? You wouldn’t know it, given the verve and indeed attack with which they play.

The band have a new album out, ‘Hidden Details’, and open with the title track and another, before a long introduction to everybody from John Etheridge. There follows another new one, with some remarkably free jazz blowing, which I feel leaves MSC a little uneasy. My apologies; I haven’t played the new CD yet, leaving it as a treat to myself, so can’t necessarily name all the tracks.

They play two sets, with a wide range from the 1970s up to 2018. It’s lovely to hear the older pieces given complete reworkings, principally with the keyboards of Mike Ratledge and Karl Jenkins replaced by sax and flute. Stand out older tracks are the Ratledge compositions ‘The Man Who Waved at Trains” and “Gesolreut”, as well as the lovely Jenkins piece “The Tale of Taliesin”. Modern pieces range from the heavy to the delicate, including “Fourteen Hour Dream” and “Life on Bridges”.

The oldest piece is “Out-Bloody-Rageous” from the “Third” album, a huge favourite of mine, updated with respect and care.

It’s all played with wonderful musicianship, great and relevant improvisation, and huge enjoyment. This is the sort of gig where the musicians get up on stage from the audience, John Etheridge carrying his guitars on, and chat during the interval. It’s the sort of gig where they are watching what the others are doing and even smiling.

They finish with a four part medley: a Theo Travis piece about Pluto (really), “Tarebos”, a Mike Ratledge riff, a great and powerful John Marshall drum solo and finally “Hazard Profile Part 1”, another huge favourite, with an awesome riff and lovely soloing.

There is an inevitable encore, after John Etheridge has told us that we’ve made “a bunch of happy men very old”: it’s “Chloe and the Pirates”, a beautiful track from the album “Sixth”.

I’m sorry to say that that, my friends, was the last gig of this tour, which has ranged from Japan to America, Canada and Europe. It was lovely for me that they finished in Southampton. If you ever get a chance, and you appreciate great musicianship, go and see them. I don’t think the album will disappoint, if it’s anything like the gig.

Note 1: MSC did enjoy it, which made me very happy.

Note 2: The support act were “Silas and Saskia”. Saskia has a good voice. Silas makes interesting techno noises. However, the two don’t seem to us to complement each other. They needed a better sound mix which made the vocals clearer. (And they did play glissando guitar, Gong folks.)

Note 3: The photo is courtesy of Mr Mark Cole.


‘Orphan Monster Spy’ by Matt Killeen

This is a very brief review: very brief, because I don’t feel I can do it justice. It’s excellent.

Orphan Monster Spy001

It’s almost unfair to attempt a summary. This is a Young Adult story, but this is one of those occasions when the category is rather meaningless. The protagonist- OK, the heroine- is a 15 year old Jewish orphan girl on the run in Nazi Germany. She becomes involved in spying (with a glamorous, enigmatic British agent) and infiltrates a school for girls of the elite.

So far, a familiar type of theme, but this is handled with power and elegance of language. The plot twists and turns very satisfyingly, with even the last page having an unexpected revelation which made me gasp when I thought it was being wrapped up neatly. Some particularly nasty issues are handled with sensitivity, but without avoiding the nastiness. There are horrible surprises as well as the familiar, never-to-be-forgotten horrors of the ethnic cleansing of the Jews.

Please don’t think this makes the book too unpleasant to read. I’d hate to put anybody off. It’s moving, all too plausible, beautifully detailed and brilliant.

Thanks again to Ms Oblique for putting me on to this.

The ‘Poldark’ novels by Winston Graham

For those of you who have been watching the BBC TV series, and maybe for those of you who haven’t.

The recent BBC TV ‘Poldark’ series has been justifiably popular. (There was an earlier version which I haven’t seen.) Being me, I saw the dramatisation as a way into reading the original novels by Winston Graham. So I did.

Well, I can report, dear reader, that they are very good. Yes, your “very good” may not be the same as mine, but I mean both that they are well written and that I enjoyed them.

For those of you unfamiliar with Poldark, it is the story of two families, set in Cornwall before and after 1800. The historical context seems to be very accurate. It’s certainly very well described and very believable. There is no flinching from the grim realities of poverty and disease: and the latter can strike both rich and poor, with the medicine of the age by and large spectacularly useless.

Poldark 2

The series has some twelve novels, covering the years from 1783 to 1820. I have read up to book 7, ‘The Angry Tide’, matching the development of the TV series. To invest the time and effort in reading a long sequence like this, one must have some sort of feeling for the characters, and Ross Poldark, undoubtedly the hero of the first two thirds, is a character it’s hard not to like: intelligent, tough and principled; probably sexy, if I did but know it. His wife, Demelza, also intelligent, tough (in a different way) and principled, has a rags to riches story. I certainly fell in love with her. Their personalities are of course (that is not sarcastic) interestingly flawed.

Poldark 1There is a strong cast of others: the unprincipled banker, George Warleggan; the forward thinking doctor, Dwight Ennys; and so on, and so on. Perhaps the working class characters are less prominent than the gentry.

I like the interplay and the feuding; I like the detail; and I especially like the way the history intertwines with real lives.

I will be sad when the TV series finishes (after the eighth novel) but I’m happy to think there will be four further books to read. I almost certainly would not have read these if it had not been for the adaptation, which is very faithful to the original. I admit to often having the screen actors in my head when I read. I recommend them to my readers.

Note 1: I have  selected only images I believe to be copyright free, as usual, in the pretence that the BBC and the Poldark publishers care whether or not I use their pictures without permission.

Large picture: Aidan Turner as Ross Poldark from BBC

Small picture: Jack Farthing and Heida Reed, also from BBC TV’s Poldark

Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0)

Note 2: I read them on Kindle. They are still in print and also to be found in second-hand shops.


‘Crisis’ by Frank Gardner

This is a great, gripping thriller, with copious convincing detail.


I do admit to picking this up because I was interested in the author. Frank Gardner must be best known as the BBC’s Security Correspondent. Unfortunately, he is pretty much unmistakable, as in 2004 he was partly paralysed by a terrorist attack and has limited mobility. This has not stopped him going all over the world. His accounts of his disgraceful treatment by certain airlines are telling.

All that doesn’t make much difference to my enjoyment of this novel, apart from a sense of reassurance that the details are right and the scenario is plausible. It’s that wonderful thing, a book where you must find out what happens in the end.

The scenario is that a billionaire drug baron is enormously angry with the British, who are helping the Colombian government to intercept his shipments and networks. He creates a cunning, diabolical plot (no, I’m not being sarcastic) to attack London. Naturally there is a hero, Luke Carlton, who is tasked with foiling it.

If all this sounds rather familiar, well, I don’t care. It came across as fresh and exciting. There are several plot twists which certainly surprised me. How lovely. Did I mention the detail? I’m going to mention it again. Presumably Mr Gardner has got it right; it certainly makes the whole thing sound totally believable.

It’s not, obviously, a “literary” novel, whatever that is; it’s plot driven, the sort of thing I love; but it is well written, and I recommend it to anyone with any liking for thrillers.

Oddball Reviews #4: ‘Every Good Boy Deserves Favour’ by the Moody Blues (1971)

Somehow this didn’t figure on The Oblique Top Albums List. So here is a brief encomium. (Ooh, I do like that word. I don’t think I’ve ever used it before.) (Which word? “Encomium”, silly.)

I guess the Moody Blues have fallen out of favour now. They don’t seem to appear on nostalgia programmes and articles. They don’t seem to be quoted as influences. They were, at the time, very trendy, if that’s still a word. Rightly so.

They were a Birmingham band, labelled as psychedelic, prog rock, maybe soft rock. They were gentler than a lot of the sounds of the time. They were one of the first bands to use the Mellotron, a keyboard instrument that made string sounds by playing tape loops. How times have changed. Apart from that and a flute, they were conventional guitar/ bass/ drums.

I saw them at the Rainbow- formerly the Finsbury Park Astoria- now a church, I think. As if you care. They were outstanding. (In the interval, a gentleman called Jesus got up on stage and told us that we hadn’t understood the first time he came to Earth. Nobody seemed to mind. I don’t remember him being ejected. Apparently he used to dance naked at festivals, but we were spared that.)


EGBDF is one of the first albums I ever owned. I still love it. It starts with a strange sound piece, ‘Procession’, which seems to be a picture of the evolution of music (they did things like that in 1971), an idea reinforced by the inner sleeve of the original LP (below). Yes, you heard me, LP.


This is followed by ‘Story in Your Eyes’, a rock song which I still thrill to remember hearing played live. Don’t worry, I won’t go on to list all the songs, but the quality is in my opinion uniformly high; unlike the following album, ‘Seventh Sojourn’, which at the time seemed to me to be insipid and still seems so now. Opinions will of course vary.

At this point it’s hard to know what else to say. The music is of its time; it certainly would seem dated to modern ears and I don’t suppose I’ll inspire anybody to listen to it. The song structures do vary, with some extended middle sections and instrumental parts, but are often conventional. The musicianship is undeniably good, especially the vocal harmonies. Poor tracks? None in your humble reviewer’s opinion. (Incidentally, I remember them playing at least one track from this live on the ‘Top of the Pops’ LP spot. There really was such a thing, also graced by the Faces and, quite unbelievably, the Groundhogs.)

Sadly, the Moody Blues gradually lost members and seem to have drifted into soft rock and decline, though I haven’t really heard any of what they have done, losing interest after ‘Seventh Sojourn’; but they are still a band whose music I play and greatly admire.

Trvia corner: Denny Laine, a member of the earliest version of the Moody Blues, was later for some time in Wings with Paul McCartney.

‘Meet Mr Mulliner’ by P.G. Wodehouse

Now this I love.

Meet Mr Mulliner001

This copy was lent to me by the estimable Ms O. the Eldest. It’s in the Tauchnitz Edition, “a collection of British and American authors”, which is marked as “Not to be introduced into the British Empire and U.S.A.” Battered it may be, but I wonder how it ended up in England (not the British Empire any more) and who read it on its journey.

Unlike most Ms O. introductions, this author is not new to me- far from it. P.G. Wodehouse has cheered my life for forty years or more, almost exclusively via the fictional personae of Jeeves and Bertie Wooster.

I have briefly encountered Mr Mulliner before, in ‘Mr Mulliner Speaking’, a book that belonged to my grandfather. Mr M. is a saloon bar storyteller. All his stories are about members of his family, who spread far and wide, in every occupation from clergyman to photographer to scientist to businessman. They all triumph in odd and inventive circumstances. Any dramatic tension is in how the inevitable happy ending will be achieved.

The book (not just this edition) is dated. It’s from another world- perhaps one that even at the time of writing was a fantasy- but one with resonances in the present. For all I know, it might be considered sexist and racist, although my general impression is that Wodehouse tends to look benignly on humanity and (especially in the Jeeves books) regards a lot of “chaps” as “chumps”.

The language is at times flowery, the situations and outcomes implausible. All this of course is what makes it such a lovely read. We are detached from this fantasy world, but we recognise it; and in this world we know that all will in the end be well. It is just invincibly happy and positive.

‘Shakespeare’ by Bill Bryson

I was very amused that Ben Elton has been exercising his satirical expertise in the BBC series ‘Upstart Crow’. Essentially his target was Mark Rylance and the “Shakespeare didn’t write Shakespeare” theories. As Elton put it in an interview, these are “conspiracy theories…. silly ones….. There is literally zero evidence to suggest Shakespeare did not write his plays”.

Shakespeare 1Well, I’m no literary expert, but I too have never seen the slightest convincing proof to make me doubt that Shakespeare wrote Shakespeare. However, the furore did inspire me to pick up ‘Shakespeare” by Bill Bryson for a second read.

This is an outstanding biography. He starts by making it very clear that we know very, very little about Shakespeare. There are only about a hundred contemporary documents that mention him or his immediate family. This, amazingly, is far more than most famous figures of his time.

He then points out that research is extraordinarily difficult. Spellings are hugely problematic. We only have six original Shakespeare signatures; each of those is spelled differently, and none of them is spelled the way we write it nowadays. Then there is handwriting. As a very amateur family researcher I know this is often hard to decipher in the last one or two centuries. In 16th century England apparently there were about 19 different ways of writing the letter d.

From these limited resources, Bryson puts together a portrait that is absorbing, adding contemporary detail to put the bare facts of the life in context without undue speculation about Shakespeare himself. But even he sometimes makes statements like: “it is reasonable to suppose that…. Will saw many plays as he grew up”, although he makes these with pretty firm background evidence.

I cannot recommend this book highly enough. It’s short- 195 pages- and eminently readable. You would expect nothing less from Bill Bryson.

Finally, to cap it all, it deals mercilessly with the “anti-Stratfordians… who, if they are right, have managed to uncover the greatest literary fraud in history, without the benefit of anything that could reasonably be called evidence, four hundred years after it was perpetrated”.

Oh yes, and it’s cheap.