COMING SOON – MY NEW NOVEL


HERE’S THE PRESS RELEASE

Published 28th June 2026
The new music-infused novel by the author of Homeward Bound and
I’m Still Standing and 77-year-old TikTok and Instagram sensation
(with posts reaching up to ¾ million views!)

  • In turn hilarious and moving, Made for Walking is a captivating
    novel about generational warfare, the meaning of friendship and
    finding your place in the modern world.
  • Author Richard Smith started writing at age 71 and now, at 77, has
    become a TikTok and Instagram sensation, talking about his extensive
    vinyl record collection. He also does regular DJ sets on The BoAt Pod –
    an independent radio station broadcasting from a narrow boat in Little
    Venice, London. Find out more about what he is up to here.
  • When veteran actor Syd Price is dumped from a long-running TV soap, he needs to find anew way forward in a media landscape that he no longer recognises. But when a rising star, model and Instagram sensation, Chloe Anderson, suggests filming a riverside ramble together, what starts as a mutually beneficial partnership turns into a vicious battle of the generations.
    Filled with music, MADE FOR WALKING is a heartfelt cross-generational story of ageing, modern life, friendship and retribution.

  • ABOUT THE AUTHOR
    RICHARD SMITH wrote his first book, Homeward Bound, at age 71. He enjoyed it so much (and it was so well received) that he kept going. Before embarking on his writing career, Richard was a producer of TV commercials, sponsored documentaries and educational and
    promotional films. It took him around the world and into places not normally accessible to visitors – up to the top of the Elizabeth Tower to see Big Ben strike twelve, on a speed boat around the Needles and North Sea oil platforms, and to the Niger Delta in Africa to name but a few. Richard Smith lives in London.
  • MADE FOR WALKING will be available in paperback (£10.99) and ebook (£4.99) at all good bookshops and online booksellers.

Step into Syd Price's journey.

"Made for Walking" is captivating, moving, and hilarious — sometimes all at once. Grab your copy and find out why.

Buy on Amazon

All the World’s a Stage – what stage are you at?

What stage have you reached in your life? Are you still searching for purpose, have you begun building a legacy or are you trying to preserve it?

I’ve been taking a look at how psychologists carve up an individual’s average lifespan. Broadly, according to standard descriptions of the stages we pass through, we’re at our peak of enterprise and creativity in early adulthood, where we’re striving to mark our mark; stage two begins from around thirty-five onwards, when we move into midlife. This is a period of contemplation and reflection that leads us to benevolence and philanthropy. By the sixth and seventh decades, when we’re in late adulthood, we’ve reached a stage where we’ve acquired a rich repository of experience and use it to help guide others. 

Well, that’s what the experts say. I’m not sure if it’s just me, but I observe things differently. What if, in that enterprise period, you’ve not achieved what you set out to do? You’ve been thwarted by lack of opportunity, bad luck, bad timing or, for a myriad of reasons, have failed to take your chances. How does that leave you? What effect does it have on later life? Are sights lowered, ambitions tempered, or abandoned altogether? And if that occurs, what happens in the later period of reflection? Perhaps looking back won’t be so benevolent or philanthropic. In its place will be a stage of anger, regret and frustration, realising what might have been, what was missed or prevented. It’ll not be the passing on of experience. Instead, the focus will become more selfish – trying again, fired up with a new determination to make up for lost time. But as there’s much less of it, to do it quickly.

Yet, what of the repository of experience? It’ll still be there, just not a positive one. Does it remain as a permanent scar of what was missed? Does knowledge of the wrongs and how they might be righted help renew confidence and the belief that thwarted ambitions can be achieved after all?  That the older person is not willing to sit back and leave the opportunities for the young. That’s certainly the thinking of the senior characters in my novels, and how they behave,

And in my new novel, Made For Walking, that’s where the conflict, needed to drive a narrative, comes from. 

Firstly, times have changed. The world has moved on in the forty or fifty years since they were at their so-called peak. They find themselves at odds with not only changed technology but also different values that now drive enterprise. And while expertise is valuable, it can also inhibit. Especially if the experience is one of underachievement. Do they learn from their mistakes or do the mistakes that led them to miss opportunities make them wary, overly cautious, and so inadvertently likely to repeat them? And then there’s energy needed for relentless enterprise in pursuit of what’s been missed. It’s likely to have dissipated over the years. Fitness, illness, wear and tear. Is it possible to be relentless in later years? And what of the need to exhibit ruthlessness? Might that not go against the calmness and benevolence that supposedly characterises senior citizens, not to mention decades of the learned behaviour of having to accept disappointment?

The other seeds of conflict lay not in the older person who is supposed to be nurturing and developing those in their early adulthood. It comes from the younger generation, striving to make their mark. That invariably means not listening to those with experience. Yes, there may be lip-service, even a few tips offered by their elders that they can draw from and improve on, but they are more likely to ignore them. The rich repository of experience is greeted with a nod and a faint, polite smile before moving on with their own ideas. Certainly, that’s how my younger characters behave.

So that’s what’s behind my novels. I have grown tired of dramas centred on drugs, crime and murders. There’s intrigue and conflict enough in real life and between the generations to weave a good story. Or so I keep saying to younger people. But wait; do I detect a nod and a faint, polite smile?

My new novel, Made For Walking, is published on June 28.

According to one reviewer, it’s in turn hilarious and moving, a captivating novel about generational warfare, the meaning of friendship and
finding your place in the modern world.

Available to order from good bookshops or online, as both paperback and e-book

Step into Syd Price's journey.

"Made for Walking" is captivating, moving, and hilarious — sometimes all at once. Grab your copy and find out why.

Buy on Amazon

YOU ASKED

Comments on my various Instagram and TikTok videos have included quite a few questions. Some of these I’m trying to cover in new videos, but here are some thoughts and answers now.

Sagging shelves

Some of you have commented on the sagging shelves, depressed by the weight of the vinyl on top. I, too, look at them, wondering if they will ever capitulate. I hope not, and they have been in place for around ten years, so surely… I do wonder though, as another album is squeezed in, if the risk might be increasing. Does MDF have a shelf life (pun accidental) and will it decompose and cease to be any time soon?

A collection of vinyl records organized on shelves, showcasing various album covers and spines in a close-up view.

Sleeve protection

One of the most frequent observations is that I don’t protect my album sleeves in outer covers. And you’re right, in a perfect world, I would have outer sleeves on all my albums. But the records are quite tightly packed, and I find the flimsy polythene covers catch up when I try to slide the record back in place. And the thicker ones take up space that, when accumulated along the length of a shelf, would lose me space for an album or two, and space is at a premium. More, my fingers get chaffed by the sharp edges!

When the album cover is die cut or has some other oddity that might catch up when sliding back into position, or if I know the record had accrued a nonsense value (that I’ll never benefit from as my records are going nowhere!), then I will use a tough outer cover to protect it. Otherwise, I trust myself to take care. But the records themselves are different. I ensure they have the correct inner sleeves and the open edge is at the top of the outer sleeve (never facing the open edge) to protect them from dust.

I can see you”

Some of you have been spotting albums in the background of my videos. You may see my tange is quite wide and diverse. I’m pleased to say I’ve been invited to theboAtpod so in a few weeks, you’ll be able to hear selections from my collection.

Save that url and I’ll tell you when I’m live.

Prepare to be shocked! (Or disappointed!)

Reissued albums and ‘overly expensive audiophile editions’

I might buy a reissued album if I don’t have the original that is ludicrously expensive. Or I might just say that I’ve managed without it for many years, so why worry now and leave it in the shop.

My first and favourite records

I can answer the first – though why anyone would be interested is beyond me! The second is impossible.

In my experience, people’s first records tend to be ones they would prefer not to admit to, especially if their tastes are still being formed.  They tend to be easy to listen to, sing along to, or in my case, sing to an audience of friends and family. It was My Old Man’s A Dustman, by Lonnie Donegan. I knew all the words and would perform it when family friends came round for lunch. My parents must have been misguidedly proud or very forgiving, and it always struck me as odd that the friends didn’t come round so often after my performances! Needless to say, I don’t play it now (though I still have it). At least, not often!

As for favourite – I have been listening to and buying records since 1960, and I have had unnumerable favourite records in that time, and can return to any of them depending on my mood. So there isn’t any one record I can call a favourite. And why would anyone want to know, anyway? Music is so personal that anything I like may be a complete anathema to someone who, in other matters, might agree with me  and share my opinions. What’s more, I have records that I listen to one day that I think are the greatest, then another day, wonder what I saw in them. Plus, I have so many that I might mention one album or a single and then, five minutes later, think of another, then another. No, it’s a question I can’t answer! Can you name your favourite record?

Vinyls or vinyl

Strictly, there is no plural to vinyl. The dictionary calls the word a “mass noun” like furniture and rice. And I have always avoided using “vinyls”.

Then I was given a t-shirt with the dreaded word on it. I tend not to wear it, or at least when it can be seen and certainly not at record fairs! But many other grammatical issues are constantly disregarded, like split infinitives and the incorrect use of “literally”, so if someone slips in a “vinyls”, I’d rather concentrate on their message than pick on the word they use.

Cleaning records

Of course, well looked after records shouldn’t need cleaning, but old ones that were neglected back in the day, or ones bought second hand, might need something. There have been a number of suggestions offered – such as water and wood glue – and they all terrify me. I have bought the special cleaning cloths, brushes and all kinds of gizmos to clean up records. In the end, I have bought a professional (and expensive) Pro-ject vacuum record cleaner.  It sucks out all the grime from the grooves, and does it very well. I used it on a much-loved but ill-cared for album and couldn’t believe that, when I put it on my turntable and played it, it sounded immaculate, as if new. That only applies to discs that are dirty, of course. Scratches and damage across the grooves are there for ever.

But on buying new copies of albums I already own – that’s a tricky one! I have some original albums that are worn through frequent playing or that I would like to hear in true stereo (if the original was mono), or perhaps in a way that offers me a new perspective on the original. So I am occasionally lured into buying remixed reissues or audiophile pressings. Verdict? Mixed feelings. Where an album is stretched over two discs and plays at 45rpm, there is invariably a noticeable difference and I think I can hear elements in the performance I hadn’t been aware of before. Whether that’s worth the usually high cost, I’m not sure, but I have occasionally given in and probably will again if the right album is made available.  But ‘remastered’ reissues tend to leave me cold. There’s nothing about them that seems to match the original pressings.

Ironically, now I know I can clean up my records to make them sound perfect again, I’m happy to allow the pops and clicks to remain, knowing I can remove them any time I please! Only if the damage distorts the audio do I get back to the faff of cleaning – then I ‘ll do a batch. But, as many of you say, the occasional surface noise is part of the vinyl experience!

I’ll try and keep on top of other questions either in the videos or here. For the moment, over and out!

Step into Syd Price's journey.

"Made for Walking" is captivating, moving, and hilarious — sometimes all at once. Grab your copy and find out why.

Buy on Amazon

Why do I have so much vinyl? Part 2

In my recent blogs on Instagram and TikTok, I asked the question, why am I surrounded by so much vinyl. I have been buying records since I was ten years old and haven’t stopped yet! I asked why I don’t save the space and instead of downloading or streaming the music I want to hear. But then, instead of answering, in the next few posts, I diverted myself into a potted history of why an album is called ‘an album’, before digging out all my old records and gramophone to talk about 78s, breakable shellac. I then moved on to the birth of vinyl as a format, and to LPs, EPs and singles. 

So here I am, several videos later, and I still haven’t answered the initial question. The next one has to. But what’s stopped me so far? The answer is . . . I can’t! I don’t really know what it is that drives me to visit record shops, and what creates the compulsion to leave with at least one purchase, often more.

And it’s not a specific record shop. Everywhere I go, I seek them out. In fact, a journey (work, pleasure, you name it) is incomplete if I’ve not found a shop to browse vinyl. It’s usually my first task on arrival in a hotel after putting on the kettle – check out where the nearest source of music is, be it a record store or a promising-sounding charity shop. This might be an internet search; it used to be Yellow Pages. It could even mean asking at Reception. I have no shame!

But why? Perhaps it’s the hunt, the hope of stumbling across something rare or that I might never see anywhere else. Or the joy of discovering an artist or music I’ve never heard before. That if I don’t buy it now, I might never have the opportunity again. Or am I just drawn, like a moth to a flame, to the racks of discs and the smell of good old-fashioned vinyl?

I should add that I can be fussy. As my tastes are varied and I’m not looking for anything specific, if the shop is too neat and well organised, I get bored. If it’s too haphazard and means trawling through the same-olds (yet another Tom Jomes, Black and White Minstrels, Bachelors, Val Doonican….) I get disheartened. And if there’s too much to go through, with boxes and shelves stacked low and high, I give up unless I’m incentivised by a quick win. And while on ‘low and high’, why is it that charity shops invariably relegate their records to a box on the floor? Do they not recognise that their customer base is likely to struggle to bend down to browse, let alone stand up again after!

Then there are record fairs. At least you know what you’re getting, and they know why you’re there. But they are pop-ups and often in dark and dingy rooms, and because the sellers know we are there with the intention of making seeking out and making purchases, the prices are consequently high. And if the aforementioned cluttered charity shop with poorly treated, badly stored and hopelessly displayed stock is a turn-off, so are tightly packed boxes of over-priced albums and singles at a record fair. There’s no chance of stumbling on a rarity or bargain. The emphasis is on misprinted sleeves and first editions, sold at premium plus prices. They’re not really for the impulse buyer or the music lover like me. It’s all for building up ‘collections’.

A smiling man holding a book titled 'Homeward Bound' in one hand and a record by Simon & Garfunkel with the same title in the other, standing in front of a collection of vinyl records.

I put ‘collections’ in inverted commas because that’s a word I despise when talking about my records. A collection sounds like a museum, where items are stored to be preserved, admired and gawped at. Collectors are either archivists or nerds. I hope I’m neither. I’m a listener. The ‘collector’ wants ‘mint’ or near mint condition discs. That means pristine covers and vinyl untroubled by having been played. I ruin my records because I have the temerity to play them. Not that I damage them, but the very act of a stylus caressing the grooves devalues a disc. It’s like a new car that costs a lot in the showroom and is half price the moment you take it on the road. But owning a car is pointless unless you ride in it, and a record is for playing, listening and enjoying. I don’t mind if a disc is a reissue or worn, so long as the sound quality is good. I can listen through crackles and distortions so long as they’re not too intrusive. It probably means my shelves of albums and boxes of singles are worth very little in monetary value. But they are priceless to me. Though if a better copy or original pops up, who’s to say I won’t snap it up!

None of which actually answers the question of why I surround myself with records and keep buying them.

Looks like I’ll have some serious thinking to do before I record that next video!

https://www.instagram.com/richardsmithwrites

Step into Syd Price's journey.

"Made for Walking" is captivating, moving, and hilarious — sometimes all at once. Grab your copy and find out why.

Buy on Amazon

Why do I surround myself

In my recent blogs on Instagram and TikTok, I asked the question, why am I surrounded by so much vinyl. I have been buying records since I was ten years old and haven’t stopped yet! I asked why I don’t save the space and instead of downloading or streaming the music I want to hear. But then, instead of answering, in the next few posts, I diverted myself into a potted history of why an album is called ‘an album’, before digging out all my old records and gramophone to talk about 78s, breakable shellac. I then moved on to the birth of vinyl as a format, and to LPs, EPs and singles.

So here I am, several videos later, and I still haven’t answered the initial question. The next one has to. But what’s stopped me so far? The answer is . . . I can’t! I don’t really know what it is that drives me to visit record shops, and what creates the compulsion to leave with at least one purchase, often more.

And it’s not a specific record shop. Everywhere I go, I seek them out. In fact, a journey (work, pleasure, you name it) is incomplete if I’ve not found a shop to browse vinyl. It’s usually my first task on arrival in a hotel after putting on the kettle – check out where the nearest source of music is, be it a record store or a promising-sounding charity shop. This might be an internet search; it used to be Yellow Pages. It could even mean asking at Reception. I have no shame!

But why? Perhaps it’s the hunt, the hope of stumbling across something rare or that I might never see anywhere else. Or the joy of discovering an artist or music I’ve never heard before. That if I don’t buy it now, I might never have the opportunity again. Or am I just drawn, like a moth to a flame, to the racks of discs and the smell of good old-fashioned vinyl?

I should add that I can be fussy. As my tastes are varied and I’m not looking for anything specific, if the shop is too neat and well organised, I get bored. If it’s too haphazard and means trawling through the same-olds (yet another Tom Jomes, Black and White Minstrels, Bachelors, Val Doonican….) I get disheartened. And if there’s too much to go through, with boxes and shelves stacked low and high, I give up unless I’m incentivised by a quick win. And while on ‘low and high’, why is it that charity shops invariably relegate their records to a box on the floor? Do they not recognise that their customer base is likely to struggle to bend down to browse, let alone stand up again after!

Then there are record fairs. At least you know what you’re getting, and they know why you’re there. But they are pop-ups and often in dark and dingy rooms, and because the sellers know we are there with the intention of making seeking out and making purchases, the prices are consequently high. And if the aforementioned cluttered charity shop with poorly treated, badly stored and hopelessly displayed stock is a turn-off, so are tightly packed boxes of over-priced albums and singles at a record fair. There’s no chance of stumbling on a rarity or bargain. The emphasis is on misprinted sleeves and first editions, sold at premium plus prices. They’re not really for the impulse buyer or the music lover like me. It’s all for building up ‘collections’.

I put ‘collections’ in inverted commas because that’s a word I despise when talking about my records. A collection sounds like a museum, where items are stored to be preserved, admired and gawped at. Collectors are either archivists or nerds. I hope I’m neither. I’m a listener. The ‘collector’ wants ‘mint’ or near mint condition discs. That means pristine covers and vinyl untroubled by having been played. I ruin my records because I have the temerity to play them. Not that I damage them, but the very act of a stylus caressing the grooves devalues a disc. It’s like a new car that costs a lot in the showroom and is half price the moment you take it on the road. But owning a car is pointless unless you ride in it, and a record is for playing, listening and enjoying. I don’t mind if a disc is a reissue or worn, so long as the sound quality is good. I can listen through crackles and distortions so long as they’re not too intrusive. It probably means my shelves of albums and boxes of singles are worth very little in monetary value. But they are priceless to me. Though if a better copy or original pops up, who’s to say I won’t snap it up!

None of which actually answers the question of why I surround myself with records and keep buying them.

Looks like I’ll have some serious thinking to do before I record that next video!

Step into Syd Price's journey.

"Made for Walking" is captivating, moving, and hilarious — sometimes all at once. Grab your copy and find out why.

Buy on Amazon

Information That’s Technically Helpful (But Entirely Useless)

I received an official letter today. I tore it open in trepidation that it was going to be a parking fine or that I’d made some other transgression without knowing. It wasn’t. It was just a routine message about a public consultation. But what made it remarkable was, at the bottom of the page, a sentence that offered, ‘This document is available in large print or Braille, audiotape, easy to read or in another language,’ and a phone number to ring if you needed these. Which is all perfectly laudable until you think about it. If I were unable to read the letter because of a visual impairment or language difficulty, how would I be able to read the message offering me alternatives in the first place?

Which set me thinking of other examples of information that is offered but utterly useless. Take an induction video I was required to watch at an industrial site. Having left my car in their car park, I’d settled down in Reception to concentrate on what I needed to know for my visit. ‘Welcome’, a cheery voice announced. ‘Safety is our priority and here are a few important facts you need to know.’ A big number 1 appeared on the screen, followed by a picture of the car park. ‘When parking your car, make sure you are in a designated space, and that you reverse park.’ Too late. I had already parked and left the car or I wouldn’t be watching their video. They might as well have reminded me to get dressed or make sure I had a good breakfast before I came. Why tell me now?

Of course, useless or ambiguous messages are not new. London’s underground is famous for its signs, ‘Dogs must be carried on the escalator,’ leading many to linger at the top, waiting for the dog they are obliged to hold before being able to make it down to the platform. And I have long wondered how I’m supposed to get on to trains when platforms have a yellow safety line painted on them. Signs and announcements make it clear through a draconian message that you are to ‘Wait behind the yellow line at all times.’ I’ve let many a train leave the station without me on it in fear of crossing the line. I await until I’m sure no one in authority is looking before stepping over the line to get on board, expediting at any time to be arrested for contravention of the instructions.

I’m also intrigued how the platform announcer can say, ‘We are sorry to announce that the 10.55 service to Manchester Airport is delayed by approximately 50 minutes,’ (or however long is too long for you to be able to catch your plane). He or she must have recorded that message many years ago and quite how this apology can ring true after all this time is beyond me. Did the announcer believe it when he or she said it, anticipating the very train and duration of the delay? Or might it just be just corporate codswallop trying to mollify my frustration? And who are the ‘we’? The announcer and the studio recordist, who doubtless had a commercial for cosmetics or soap powder to record next?

Perhaps I’m too harsh. Maybe I should give credit that organisations are anticipating my likely frustrations if things go awry and that their actions are merely thinking of the worst case scenario and so have thoughtfully prepared an early warning message (albeit in the case of the car parking, late warning). Or maybe they are preparing their defence in advance, for any likely litigation.

I was softening until I remembered this sign I saw by the coast (in Northern Ireland).


Are people so ignorant that they need to be warned that they may get wet if they stand close to the sea. And what do-gooder thought it a good idea to warn people?

I despair.

What next? Signs on a garden gate: Beware of the dog – may bark. Or on a restaurant table: warning – knives are sharp and may cut.

I’ve made up my own, but I’m on the lookout for more examples of needless or mindless safety warnings.

Step into Syd Price's journey.

"Made for Walking" is captivating, moving, and hilarious — sometimes all at once. Grab your copy and find out why.

Buy on Amazon

The Problem with New Year’s Eve

What are you doing on New Year’s Eve?

It’s the question people are asking at the moment. And there’s much on offer. There are parties, communal firework displays, dee-jays down the pub, meeting old friends at the local, or simply staying in the watch Hootenanny on TV… Everyone seems to be making plans.

Not me. At the risk of coming across all curmudgeonly (again), I have no plans. Because I loathe New Year’s Eve. Even having no plans is something I hate!

It’s not that I haven’t tried to be sociable and to enjoy it. Over the years, I’ve booked theatre performances and seasonal musicals, but they’ve all ended around 10pm, leaving a couple of hours to fill. That has meant hanging on to the bitter end, staring at a glass of something I didn’t really want until the chimes ring out. And then there’s getting home in the cold/wet/wind (delete as appropriate, or, as more likely, all three). Where’s the celebration in any of that?

Much the same applies with New Year parties. Assuming they’ve not run out of steam by 11pm (and if those invited have children or pets, chances are it’ll be lucky to have lasted that long), there’s that feeling of hanging on until you can turn on the TV and watch the countdown, Big Ben and the fireworks. Standing around a TV, glass of Prosecco in hand, wearing a torn party hat is not my definition of fun.

There’s always the option of staying at home, of course, for a quiet family New Year. Except the TV diet is predictable and tedious, old films and dismal Christmas Specials and end of the year quizzes, and they all leads to fake bonhomie and celebration in a studio with people you don’t know or had forgotten about, as they wait for the countdown. But you know that is not really happening on New Year’s Eve, but was recorded in the summer, and that after they’ve cheered as ‘midnight’ is reached, they’ll be off into bright sun and down to sun loungers or the beach.

And wherever you are, however you choose to spend the dying hours of the old year, the nadir is the actual counting down the last ten seconds, followed by cheering and clinking glasses as the clock strikes twelve, the inevitable recitation of Auld Lang’s Syne, and the kissing and hugging and interlinking of arms of people you don’t know and would steer clear of any other time of the year.

Then, before it’s all over, there’s more chinking of glasses, before there begins more sober reflection on the future; of hoping the new year’s better than the one just ended.

And what’s to follow? A depressing void that drags through the long winter months until spring returns to bring signs of real hope and optimism.

It hasn’t always been January 1st. The artifice that we have created for our New Year used not to be fixed but was set by traditions based on astrological or agricultural events. For the ancient Egyptians, the new year began with the annual flooding of the Nile and the rising of the star Sirius, while for the ancient Chinese, the new year began with the second new moon after the winter solstice. It was only when the calendar we now use was created that January 1 was nominated as New Year’s Day. But it could be any day.

And that’s how I see it. All the cheerfulness, reflection, planning and resolution should not be pinned to one event, one day. It could and should be every day. ‘Today is the first day of the rest of your life,’ is a cliched expression, but that doesn’t make it any less true. We can enjoy all the things we parcel up on one night in December on any night in the year. Perhaps it’s convenient that we all do it together and at the same time. But better, surely, to keep those thoughts, plans, hopes and neighbourliness for every day, not just once a year.

But what are you doing for New Year? Got any plans? Want to go down the pub? Yes, I know, it’s been a terrible year. Let’s hope for better in 2026…

Step into Syd Price's journey.

"Made for Walking" is captivating, moving, and hilarious — sometimes all at once. Grab your copy and find out why.

Buy on Amazon

The Life We Shared, and the Lives We Drifted Into

Friends. They’ll be there for you, according to the ever-present TV show. Maybe for Jennifer Aniston and Co. But the rest of us? If you’re of a certain age, the story is very different.
That group of mates we were always hanging out with – where are they now?

Back in school days, friendship was being part of a gang, hanging out, being with people you just clicked with. There were no limits, no expectation of the friendship ending. There were occasional breakups, but the bond was usually too tight for them to be permanent. And when separation was inevitable – like moving house because parents were on the move – there were pen friends, sharing messages by post. At first, these seemed like they should be for ever, too. But these didn’t last. Times move on so fast as a youngster.

I had a pen friend, and we shared letters for months. But gaps between letters lengthened until they stopped altogether. What was there to say? Interests had changed, there was a lack of shared experiences, we were meeting new people. Scrawling out a letter to someone you hadn’t seen for months took up valuable time and just seemed laborious. I don’t know who stopped writing first. I do remember my mum reminding me to write to him (I don’t even remember his name, though I still remember where he lived) but I’d just give her a shrug of indifference. And that was it. Over. Which helps prove the point. A pen friend could never be a bestie. The point of real friends is you see them all the time. You share each other’s lives. You really are there for each other. Proximity is vital.

Friendships don’t get much stronger than those built during further education. Years of working together, living close to each other, building relationships, especially where you’re on a campus. People of the same age, common interests; time spent hanging around in each other’s rooms, just sitting, talking about nothing. It’s so easy, effortless, spontaneous and natural.

And those early twenties, in education or not, these are likely to be times of limited finances, with shared accommodation or living close by because it’s where rents are cheap. If it’s not the proximity that builds the friendship, it’s shared hardships.

But it doesn’t last long. Nothing stays the same. Life gets in the way. There’s work and new commitments. You may keep the friends, but the bonds of similar experience and interests become diluted.

And there’s a greater risk to forever friendships. That of the group being broken up by pairing up – boyfriends and girlfriends. The focus changes, interests change. The group dynamic changes and forms clusters of twos. And if the partner is from outside the group, there comes a gradual separation. There are still boys’ nights and nights out with the girls, but these don’t just happen like they once did. They have to be planned in advance, becomes an occasion, requiring arrangements, getting dressed up, keeping an eye on the clock. They’re still fun, but they may need permission or at least acknowledgement from the partner. And what of joint nights out – the group with the plus ones. New friendships are formed by necessity – but the original loyalties are being watered down.

And there’s worse, of course. No group of friends can withstand the arrival of children. Now it’s mums together, pushing buggies to playgroup, dads chatting outside nurseries and schools on picking-up duty, or even sitting alone in the car, waiting with the engine running to keep warm. And what of that unbreakable bond of besties? It’s now a meet-up once a year, fixed by childcare arrangements. Conversation is easy, spent catching up on news, picking up conversations that have lapsed since the last meet-up. But gone is the unfettered small talk of old. Gradually awkward gaps appear, to be filled by soliloquies where people talk jobs, children, homes, pets, while the rest shift uncomfortably, check the time of the next train home. Then it’s setting diary dates to do it again next year.

Or there are smaller-scale meet-ups, squeezed in between family and children’s regular activities. The arrival is a melee of settling the kids, then talking about the journey, before the kids demand attention or food or a walk to the playground, and then it’s time to leave.

And if there are no children – maybe they’re doing their own thing or grandparents have stepped in – the meet up is over a meal. Talk is again dominated by journeys and families, along with holidays and work, and with the addition of health and ailments, before you hug goodbye. It’s been pleasant and enjoyable and you feel you’re still there for each other, even if life has got in the way of the unfettered friendship you once enjoyed.

All this came flooding back to me as I opened my address book (yes, I keep a paper one as well as the lists stored online) to write my Christmas cards. I always try to pick cards that I think will suit individuals, some from special packs, some that are sold as singles. And I couldn’t help but realise I had not only more cards than I needed, but I also had some unused ones from last year. The address book pages are full, but many of the details are redundant, with lines through them. This may be because some addresses have changed and been updated, others are because we have somehow lost contact. Some – depressingly but inevitably, I suppose, as you grow older – are because the people have died.

As this year’s cards sent to me clatter through the letterbox and on to the doormat, I’m noticing how the envelopes have changed. Once they were thick, stuffed with additional sheets of paper – handwritten accounts of the past year and embellished with favourite memories. Ironic, really, that what were my best mates had become pen friends. Then those hand-written messages changed to single word-processed A4 sheets detailing the past year, dominated by lengthy accounts of their children’s ups and downs. And more recently, there’s been a return to handwritten messages, but short now and hastily scribbled. ‘Sorry we didn’t meet. We must do it next year.’ Or worse – and heartbreakingly – news that the best friend has passed away in the summer, invariably after a short illness, leaving me with the dilemma of whether to still send the card I’ve already written and address it to the bereaved partner who wasn’t my best friend, or send a bereavement card instead, albeit several months too late.

And the realisation sinks in – far from being a friend who was always there, in their final hours, I’d been oblivious.

It’s what makes Christmas both a time of joy when it’s shared, but also a time of sadness and reflection. And a reminder – don’t take those friends for granted. They may not be there for you after all. So enjoy your time with them while you can.

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When Album Covers Became Art

In a recent blog, I wrote about how I was teaching myself that vinyl – lovely, shiny, lustrous vinyl –is merely a music carrier. Yes, it needs to be cared for to protect the music in the grooves, but it’s irrational to be too reverential, too precious about it. It’s just a processed thermoplastic polymer, not a work of art.

But in response, some of you have pointed out that what often is a work of art is the sleeve the vinyl comes in. And who am I to disagree (as Annie Lennox might ask)?

The most famous early example of a sleeve as art is – you don’t really need me to say, but I will -Peter Blake’s cover for the Beatles’ Sgt Pepper’s Lonely Hearts Club Band. Blake is a British pop artist, who went on to design album covers for the Who, Paul Weller and Ian Dury, and has works on display at Tate Britain, as part of the Modern and Contemporary British Art collection. So we’re talking top draw, not casual doodles.

Before Sgt Pepper, the usual format for an album sleeve was invariably an instantly forgettable image of the singer or performers, usually posed awkwardly in a photographic studio, barely a step up from the pictures taken of me at school for my parents to stand on the sideboard. Maybe the same photographers were used for both, dashing from Cliff Richard in Abbey Road to class 4a in Crouch End Primary School, the only difference being that I would have custard stains on my pullover, Cliff probably didn’t.

Sgt Pepper wasn’t entirely responsible for the change, though. Before that, Klaus Voorman – a musician who played in Manfred Mann and was a graphic designer by trade – had won a Grammy Award for Best Album Cover in 1965 for Revolver, the album released prior to Sgt Pepper. But then, the Beatles were different. For the most part, it looked like the promotions people of record companies were focused on the teen market, where the priority was to get the album on the racks in shops while the single was still in the charts and before the artists disappeared back into obscurity. Classical albums that had a longer shelf were given more time and were frequently picking up honours for their sleeve designs. And just occasionally, some pop albums of the fifties and early sixties were graced with some unexpectedly groundbreaking designs. Can you guess the two artists whose music was wrapped in these sleeves?

But sleeves as art became more commonplace in pop and rock towards the end of the 1960s, reflecting the more thoughtful (or drug-induced) music of psychedelia and prog rock. And it helped sell albums too, leading to more than a handful courting controversy. Famously, there was the Jimi Hendrix album, Electric Ladyland, featuring a group of girls who, it is reported, were offered five pounds to pose topless, and another three to remove their knickers as well. Or John Lennon and Yoko Ono who appeared naked on their Two Virgins album cover. Nudity and scantily clad women continued to be a theme, used by Led Zeppelin, Roxy Music, Whitesnake, the Slits (amongst many) – presenting record shops with an issue. For the first time, the sleeves were capturing the attention. Shops wrapped them in brown paper to avoid complaints from sensitive customers, protect the innocent and preserve the modesty of the performers. But they still were garnering new-found and unwelcome attention. The vinyl had long since been stored separately from the covers to deter shoplifters, but now, with covers themselves becoming desirable, they were constantly being filched without needing to have a record inside. The photocopied sleeve for display duly arrived.

Since then, album artwork has almost become separate from the music. It often displays no text – no identifiers, no track listings or indeed titles – needing stickers plastered on them so sellers and potential purchasers can identify what the album is. Which is ironic because at the same time, the physical dimensions of the art have been reduced. CDs – for a decade or so the prime format for music – shrunk the art from 12” x 12” to minuscule. And for downloads, there is no need for artwork at all, and where it exists at all, it’s invariably reduced to a thumbnail. It must be with a sense of relief for artists that vinyl is making something of a comeback, so their palette is once again bigger, though not quite a triptych in the National Gallery. But it once more provides opportunities to showcase visual creativity alongside the music, providing the owner with a feast for their eyes as well as their ears. And something to revere.

So, while reading this, what album sleeve have you been imagining? Do you have a favourite – past or present?

(Answer to question above = Frank Sinatra, Only The Lonely, (1958) and Cliff Richard, (1965).

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What My Piano Teacher Never Knew He Taught Me

Piano Teacher – all ages. Call Charlie. This handwritten message was on a Post-It, pinned to a noticeboard in my local café. I scribbled down the details and next morning, I phoned Charlie. A few days later, a young man, slightly unkempt and every inch a wannabe rock star, appeared on my doorstep.

I’d invited him to give lessons to my teenage daughter. But while I was making a coffee for him before they got started, I heard him play to entertain himself. It sounded magical. I’d never learned a musical instrument, instead taking satisfaction in simply buying records and singing along to them. Hearing him play so well gave me the urge to be more creative. So, I asked Charlie to teach me as well. And as my daughter’s school pressures increased and her interest in the piano waned, she dropped out, leaving me to become Charlie’s sole pupil.

We’d begun using a cheap synthesiser that I’d bought from a charity shop, but at his insistence, we upgraded to a real piano, an upright that had probably seen service in a pub or club, complete with candelabras and piano stool. He’d spotted it in a second-hand furniture store, and had reserved it for me to buy – a touching show of faith. He must have seen something in me, or assumed that someone of my age, wanting to learn after so long, must be keen and dedicated. And at the time, I think I think he was right.

Unfortunately, it wasn’t long before I began to let him down, and he would have realised why I’d never learnt in the first place. I never practiced. He’d remind me that he used to practice three hours a day when he was learning, and urged me to give it at least thirty minutes between his weekly visits. Then there were the interruptions during lessons. We’d seldom manage a full hour without my having to take an urgent business phone call, often for ten or fifteen minutes. And then there was my inability – and unwillingness – to learn how to read music. Paul McCartney never did, I’d argue, and anyway, all I wanted to do was be sufficiently competent to play a blues or rock’n’roll riff that would serve as accompaniment to singing a Chuck Berry or Jerry lee Lewis song.

Initially undismayed, he persisted, setting me scales and simple tunes to learn. But I seemed to make little progress. Almost as if seeking forgiveness, I did go to a couple of his gigs, even though I felt hopelessly out of place amongst the youngsters he attracted. And the venues were hardly Wembley Arena. More like pubs and small clubs where, although he was on a stage, the main attraction was the bar. He performed his own songs to the accompaniment of clinking glasses and people shouting at each other to be heard over him.

Gradually, my work commitments made it difficult to continue scheduling his lessons with me, and anyway, I sensed my lack of commitment meant he was losing either the heart to continue or interest in teaching. Probably both. Plus, he was still trying to make it professionally. He gave me a CD from a studio session that I gratefully accepted but hardly played. In my defence, when you have a record-buying habit, it’s hard to keep up with every vinyl and CD acquisition, and certainly not with a rough-and-ready CD-ROM.

Eventually, we lost touch. I used to wonder what had happened to him, and if he’d ever managed to come to terms with playing in small venues and never hitting the big time.

I reconnected with him by chance. I was in France, and was browsing the music department of a Carrefour in Calais. They displayed the best sellers on a rack on the wall – I recall Michael Jackson being both at number one and number three. What I hadn’t expected to see was at number two, a CD with Charlie’s picture on the front. A quick online search revealed he had become a huge star on the continent and in Canada. Quite why he had made it in French-speaking countries when he was English, and his lyrics were in English, I have no idea. But the first thing I did after I bought the CD was to check its lyric sheet.

Which brings me to explain why a story about a musician is on an author’s blog. What had he written about? Any creative, whether a songwriter, artist or author, will bring their personal background and experiences to their craft. While what is produced is generally from the imagination, that fiction is likely to include an interpretation of reality, to make it believable. And that inevitably comes from what they have witnessed first-hand. When I scanned the lyrics of Charlie’s songs, I couldn’t help asking myself, did his verses of disappointment and disillusionment allude, in some way, to his relationship with me? Were there any clues that he’d been inspired by – or written with anger through – my failure to take advantage of his advice and tutelage?

There are readers of my novels who have felt the same with my writing. More than once, I have been asked – nay, accused – of writing about them. I have no idea whether they were angered or flattered, but I have twice been given a mug that warns people that ‘anything you say may be used in a story’. Still, I was pleased that my characters must have been sufficiently rounded and believable for readers to think I’d been writing about them.
The reality is that any author – and any other creator – borrows from life, be it situations or people, then uses fragments to build into the fictional narrative, developing – maybe exaggerating – them. It’s what helps keep everything interesting, authentic and credible.

As for Charlie, I haven’t met him since the last lesson he gave me, but I have followed his career. I am so pleased that he’s gone from strength to strength, and it’s satisfying that he is getting recognition and reward for both his talent and dedication.

I still can’t play the piano.

Charlie Winston’s latest album, ‘Love Isn’t Easy’, has just been released on Tôt Ou Tard records.

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