Cheering people up!

I’m really pleased with this review/blog, saying that, ‘After struggling at times during lockdown to have a desire to read, this book was exactly what I needed to remind me why the world of books is so wonderful.’

With more COVID restrictions, maybe this will cheer a few more people up!



Homeward Bound on tour!

All these reviewers will be feasting their eyes (or sharpening their pens!) on my novel Homeward Bound in the next couple of weeks. I’ll post their comments here.

As they say on the BBC News before Match Of The Day, ‘If you don’t want to know the results, look away now!’

‘Oi’ll give it foive.’ Juke Box Jury or Thank Your Lucky Stars?

Janice Nicholls. Remember the name from the 1960s? A teenager who gave her verdict on new record releases. Her ratings were out of five, and if she liked one, she’d say enthusiastically, ‘Oi’ll give it foive’. Her weekly appearances were on ATV’s Thank Your Lucky Stars, hosted by Brian Matthew. Her catchphrase was immortalised in song. I don’t know if she ever reviewed it herself, and it was completely ignored by the record buying public. But here’s your chance to give it a score!

‘I love Elvis and his pelvis . . . Mantovani drives me barmy . . . The Everly Brothers and the others . . .’
Oi’ll give it foive – Janice Nicholls – my copy on a pre-release demo whirring away on my Dansette.

Out of five – how many?

Oddly, many people confuse her with being on Juke Box Jury, another record review show, but on BBC and hosted by David Jacobs. (It’s a raging debate on Facebook‘s London in the ’60s and ’70s!) But on that show, four panelists would assess whether a record would be a hit or a miss. Its theme tune, by the John Barry Seven plus four, was aptly named . . . Hit & Miss. And unlike Ms Nicholl’s offering, this record was a hit (No. 10 in 1960).

Hit & Miss – John Barry Seven plus four, this one spinning on my Rock-Ola Tempo jukebox. This is the model originally used on Juke Box Jury – but with the letters ROCK-OLA covered over because of the BBC’s rules on adverstising.

John Barry went on to write the Bond theme (amongst many other film tunes). Janice Nicholls apparently went on to a life of podiatry.

If you’ve not had enough nostalgia, there’s loads online about the programmes, though not much about Janice.

And if you like music and a story that, according to one reader is ‘a gorgeous hug of a book,’ my novel, Homeward Bound goes on a blog tour in July. Catch it with these bloggers.

NATURE RAW IN BEAK AND CLAW

I watched in awe as two blackbirds set about a magpie in our back garden in Highbury Hill. Pecking and grabbing at its feathers, I was amazed at their ferocity and sorry for the magpie. My view was soon to change.

I’ve been observing the throngs of birds visiting our feeders, tiny garden pond and containers of water more than I used to, through a combination of ‘lockdown’ and new patio doors. From wrens, sparrows, blue tits and robins, through thrushes and blackbirds, to crows, magpies, blue jays and even the occasional woodpecker and sparrow hawk, they have established a literal pecking order of the seeds, fat pellets and dried worms on offer.

Bath time for sparrows. Keep a count!

The smaller birds enter the squirrel proof cages and hurl the food across the grass, a gift to the larger ones waiting in anticipation on the ground where there’s a literal pecking order.

Our tiny pond. Newts and frogs seem to be attracted to a fountain to rival Vegas!

The magpies, crows and pigeons get first picks, the rest waiting their chance of what’s missed. But there must be enough to go round as most of these birds seem to have built nests nearby, and we’ve already seen newly fledged robins and sparrows negotiating the feeders and bathing in our containers and pond.

Which brings me back to the altercation between the magpie and the blackbirds.

The squabble showed no sign of abating, with the magpie seemingly coming off worst.  Yet rather than escaping, it briefly touched down in the garden. Here, it stretched its neck and pulled from the undergrowth a tiny, helpless blackbird chick, pink mouth wide open in expectation of being fed. What happened next was a brief blur of feathers and squawking – then all the combatants flew away. But what of the chick? I went to investigate. No sign. Just a few small feathers. Had it escaped or had the magpie taken it? I fear the latter.

I was set up to take a picture of magpies and blackbirds, but this little fellow arrived to ruin it!

So my view of battered magpie changed from victim to offender. Yet, in retrospect, maybe there are hungry magpie chicks that needed something more substantial than slim pickings of seeds dropped by the sparrows. It’s nature’s way. But the possible loss of a blackbird chick is so disheartening.

Next day, they were all back in the garden, sparrows, blue tits, robin, blackbirds, magpie, following the same feeding routines – until, that is, they were all interrupted by the arrival first of a squirrel, then cats.

It’s tough being a bird.

PS – since I’ve written this, I’ve noticed a blackbird devouring a newt from the pond. The circle of life and death . . . . !

Richard Smith’s novel, Homeward Bound, is available as an ebook and paperback from Amazon and bookshops like Ink@84 and Waterstones

Excuse me, that’s the wrong record . . .

Did you watch the recent BBC drama, ‘Trial of Christine Keeler’? It’s set in 1963. But in the soundtrack, they play ‘Well Respected Man’ by the Kinks – a song not released until 1965. A little research would have come in handy, methinks. But it’s not unique.

I’ve lost track of the times I’ve watched a play or a film and somebody has slid the vinyl from its sleeve, placed it on a turntable, dropped the stylus into the groove . . . and out has come the wrong tune, or at least, to the eagle-eyed, a different tune from the one on the record that’s spinning. OK, it’s nerdish and we should be involved in the film’s narrative. But to anyone with any interest in records, it’s the first thing we see. It just comes naturally.

Original labels for the Beatles’ first hit single, released in 1962

The key to identification is the record label. Artists and songs were signed to companies with label brands, and each brand was recognisable.

For instance, the Beatles’ early singles were on red Parlophone.

Later labels for the same song after Parlophone changed its branding. This would be the wrong if used in a film set in 1962

Later copies and re-issues were black. These changes are unique date markers – vinyl carbon dating if you like – as brands were revised over time and for reissues. Not just for the Beatles but records through the ages.

Which means people like me will notice if the actors are using a record with the wrong label for the song or a reissue that’s not contemporary with the period of the drama.

My defence is we are not alone. I once made a film where I used an archive clip of a steam train and dubbed a whistle on it, culled from the nearest BBC Sound Effects LP – Vol 1 RED47M, Side 2 Track 5. It seemed to be just right for the soundtrack. Not just right for railway enthusiasts, though. I was lambasted by viewers because I’d used the wrong whistle. I expect they’d have demonstrated the correct one for me if I’d asked.

So allow me the moral high ground. Art directors or their researchers – do your research and get it right, please. We’re watching!!

Richard’s novel about music, ambition and ageing – Homeward Bound – is available from the high street and online bookshops and Amazon (paperback and ebook).

Music with a message for our times . . .

An album and two singles with titles that sum up these distressing times

. .

My novel, Homeward Bound is available from Amazon and Waterstones online.

What Rebecca’s Read wrote: “Homeward Bound” is a funny, feel-good read that I’d highly recommend. With music intertwined throughout, this is a story of family, love, hope and dreams and finding your purpose at different points in your life. 5 stars!”

Five recommended books, self-isolating or not!

Looking for something to read? Five new books explore the experience, opportunities and issues of ageing, each bringing a unique take on the subject.

Hazel Prior Away With The Penguins is about a cantankerous but charming woman, her estranged grandson and a colony of penguins. (Amazon/Waterstones/ebook)

Richard SmithHomeward Bound follows a 79-year-old musician who is expected to be in retirement but isn’t ready to close the lid on his dreams, and his 18-year-old granddaughter, who shares his house and the dreams he once had. (Amazon/Waterstones/ebook)

Salley VickersGrandmothers is the story of three very different women and their relationships with the younger generation. (Amazon/Waterstones/ebook)

Francis LiardetWe Must Be Brave explores the fierce love that we feel for our children and the power of that love to endure. (Amazon/Waterstones/ebook)

Anne Youngson Meet Me At The Museum is a celebration of long letters, kindred spirits and the possibility of writing a new story for yourself, at any stage of life. (Amazon/Waterstones/ebook)

Click on the links for more information and where to buy them online (if your local bookshop is closed and can’t deliver to you). Amazon offers ebooks as well as hard copies. The e-book link is to a Google site. There are other links to the ebooks (like kobo) that need a sign in to a free account.

All the books were part of the Age UK Camden Literary Festival in March 2020.

This post first appeared on richardsmithwrites.com

Your first ever record was . . .

What was the first record you ever bought?

Go on, admit it, if only to yourself, in private. Odds on it was something way too guilty to be even a guilty pleasure. Bob the Builder? Mr Blobby? Bros?

I’ve yet to meet someone who said their first record was Jimi Hendrix or Nirvana.

Mine was My Old Man’s A Dustman (Lonnie Donegan – ‘My dustbin’s full of lilies.’ ‘How do you know they’re lilies?’ ‘Lily’s wearing them!’) For years it was my party piece whenever my parents had friends round to visit. Funny they only ever came the once . . .

My embarrassing first record theory was knocked on New Year’s Eve when one person told me hers was Shostakovich (and she wasn’t posh, she assured me, and she didn’t know if Shostakovich was embarrassing in classical music circles.) Another proclaimed his first to be a Bob Dylan record. I ruled him out on two technicalities – the first he didn’t know which song, so that doesn’t count. Plus he’d lived in a remote part of Ireland and didn’t come into contact with pop music until quite late in his life, by which age all of us have moved on to something more credible.  I was ten for Lonnie and swiftly moved on to rock’n’roll and American punk – though I must admit the second record I bought was barely more credible than the first. Delaware by Perry Como. (‘What did Delaware? She wore a brand New Jersey.’) Maybe for me the damage was lasting. I’ve had a weakness for puns ever since.

Of course, it’s different for today’s first-timers, with so much available to stream and children plied with music at child sensory and music classes. I doubt We Built This City On Sausage Rolls is ever going to be fondly remembered as a musical first by this decade’s teens. Will there ever again be a ‘first record’ to pass into personal histories, like Lonnie Donegan and Mr Blobby? And is that a good or a bad thing?

Richard’s novel, Homeward Bound, is available from the high street and online bookshops and Amazon (paperback and Kindle).

More doesn’t always mean better

A shelf fully stacked in Cuba. Quantity, yes, but variety and quality . . . ?

Choice. It’s what everyone wants. Spotify offers access to millions of songs, Amazon music quotes 50 million songs online. You can have what you want when you want it. Good? Not necessarily.

I’m not anticipating a return to the days when the only music you could hear came from a handful of radio stations, the music was what the producers liked or a record company paid them to play. Yet there’s a case to be made for taking back control.

When there was a limit to what was available, every new release was eagerly anticipated. Excitement grew at the impending release of a new song by the Beatles, the Rolling Stones, Police, Madonna. Conversation in the office would often begin with, ‘Have you heard the new single by . . .’  The anticipation and reaction of a new release was way beyond casually ‘dropping’ a track, as happens now. And chart positions were analysed, watching avidly to see if a favourite would climb or fall, not the dull, predictable (and often unnoticed) charts we have today.

It’s undeniable that the music industry was controlled – and for the benefit of the big and rich record companies. True, new artists needed the companies to spot them and give them a chance – meaning many never had the opportunity to see the light of day. For every Beatles that were turned down but eventually made it, there are probably countless who didn’t get a first chance, let alone a second. Yet when deals were signed and records made and released, it provided an excitement and anticipation that is unimaginable today. And now there is so much, it’s arguable that the opportunities for major breakthrough are just as limited.

What’s more, by being able to choose what we listen to, the risk is we’ll go for what we know we like. New music – and different styles – are forsaken for something we already know. Who listens to a radio station or streams music that they don’t initially like?

It all adds up to music going stale. There’s still plenty of good stuff, and innovation is still possible, but too much choice leads people (and TV programmes that feature music) to fall back on what is safe. And for someone who grew up being excited by music, that’s a shame for generations to come.

Richard’s novel, Homeward Bound, is out now.