review

One to rule them all – which guitar is the best all-rounder?

Guitars & Gear

I an article earlier this year, I weighed-up which two guitars in my collection would be the ultimate top two – the two I could take along to any gig any be comfortable they would cover (almost) any style of music being played. This is especially useful for me at studio dates, where surprise requests can often occur, and I don’t usually have capacity to take my entire guitar collection along to every session!

In the end, after examining different types of guitar (differentiated largely by their pickups), I concluded that – for me – one of my Stratocasters and a p90-type guitar (in my case this Gould Stormbird) made a winning combination in terms of tones and range of genres. With these two, I could cover everything from jazz and funk to classic rock and noisy indie, and everything in-between.

But what if you could only take one guitar out? Which one would it be?

In the original post, I sang the praises of the 335-type guitar, which only just missed out on making it into the ‘top two’. I love my own 335 copy, but I felt more confident taking a Strat to a gig with multiple (or unknown) genres on the go, mainly because the single-pickup solid body cleans up better, is far less prone to feedback onstage (especially when playing heavier styles), and offers more tonal options. Also, I think the fact that I’ve played Strats since I was sixteen likely played a part in my thought process. I sometimes take a job where I don’t know exactly what I’ll be asked to play until I arrive, so familiarity with an instrument I trust is crucial.

However, I might have been a little unfair to the 335, and feel like I’ve changed my opinion in the last few months. I’ve certainly been using one as my main guitar for 80% of my gigs this year so far, and it performed perfectly at my most recent studio bookings – but would I be happy with it as my only guitar for any gig?

Let’s look at the three types of guitar by pickup type again, with a summary of what I use them for, as well as a few examples of where I use them professionally.

Single-coil solid body guitars (Strat, Tele, Danelectro, etc)

Classic guitar tones – bright and clear with lots of twang or spank to their sound
Sound great overdriven, but retain some of their original character
Sit well in a mix with other instruments/guitars
Reliable, solid instruments which are easy to mod
Perfect for: pop, funk, country, blues, rock, indie
Can be noisy, especially in high-gain settings

P90 solid body guitars (Stormbird, Some PRS models, some Teles, etc)

Beefed-up version of a classic single-coil sound
Beautifully warm, yet still clear, distorted sound
Great ‘best of both worlds’ between a single-coil and humbucking pickup
Covers most styles (but volume has to be rolled back slightly for cleaner sounds)
Can be very noisy in certain settings

Humbucker solid body guitars (Les Paul, SG, PRS)

The classic overdriven guitar sound, warm but aggressive
Warm, full sound for jazz (with the volume rolled back a little)
Perfect for: Rock of all types, jazz and blues
Not as good as single-coils for those iconic glassy clean sounds

Humbucker semi-hollow guitars (335, Elderwood, etc)

A humbucking guitar with a slightly airier sound
Lighter than a Les Paul (to save your poor back!)
Capable to playing most styles imaginable
Perfect for: jazz, funk, soul, blues, classic rock
Neck & Bridge pickups together gives a wonderful funk tone
Prone to feedback onstage, especially in higher-gain settings

Picture credit: Music Radar

Final thoughts

Which would I choose? I still couldn’t say for certain. It depends so much on the gig in question, but if I wasn’t sure what I was going to asked to play, I expect it would be the Strat or the 335 I’d be reaching for. I guess it comes down to a choice between a solid body or (semi) hollow bodied guitar; whether I’m seeking the thicker snap of the Strat, or the airier sound of the 335.

And of course, bear in mind that we’ve only been discussing electric guitar options here – if I was really unsure about the requirements for a studio date, I’d have an acoustic packed into the car too!

But what about you? Obviously, what works for me doesn’t necessarily work for everyone, which is why I’d love to hear your thoughts – get in touch!

Acoustic guitar review: Cort CJ Retro

Guitars & Gear

You’ve probably played a Cort guitar before, without even realising it.

The Korean firm is one of the largest guitar building companies in the world. Yet most of their operations are to serve as contractors, building the lower-budget guitars of several major brands over the last few decades, including Ibanez, Squier, Schecter, PRS, Musicman and G&L, to name but a few.

So guitars sold under their own name should be treated with respect, considering the expertise and resources behind their creation. Their CJ range of acoustic guitars are a good value alternative for players on a tighter budget and offer high quality instruments at a more than reasonable price.

For me, I need a guitar I can take out to live shows that will perform without me feeling anxious about it getting damaged. My Taylor acoustic’s endpin jack is coming loose again, despite several attempts at repairing this issue (never, ever buy a guitar where the jack input is part of the strap button – in my experience, it pays to keep these two important elements separate), so I have taken the decision to retire this guitar from regular gigging. I found the CJ Retro available on sale and loved the vintage aesthetic, and here we are…

The CJ Retro seems designed to put you roughly in mind of the Gibson J-160E acoustics famously played by John Lennon and George Harrison. Lennon in particular made use of his J-160 throughout his career, and the fact that his guitar was also all-laminate didn’t stop it from becoming the acoustic you hear on countless classic Beatles songs. The CJ is a different shape (a jumbo compared to the J-160E’s dreadnought shape), and with the soundhole-mounted pickup, it also projects a vibe harking back to the earliest days of pickup-equipped guitars (think Charlie Christian).

Specifications & dimensions

The CJ Retro is a jumbo-sized electro acoustic guitar at a budget price. Instead of a solid top, this guitar is constructed entirely out of laminated woods, so the sound won’t mature in the same way as a more expensive acoustic. But laminates have their own positive qualities, being more resistant to the elements than a solid top guitar – useful for regular gigging, especially if you play a lot of outdoor shows.

Here’s the basic specs & dimensions:

  • Top: Laminated Spruce
  • Back & sides: Laminated Mahogany
  • Fretboard & bridge: Merbau
  • Nut width: 43mm / 1 & 11/16th in
  • Scale length: 648mm / 25.5 in
  • Pickup: Fishman® Neo-D Humbucker (over soundhole)
  • Electronics: Fishman® VTB EQ passive system (Volume, Treble, Bass)
  • Length: 105cm / 41.5 in
  • Lower bout: 42cm / 16.5 in
  • Upper bout: 32cm / 12.5 in
  • Depth: 12.5 cm / 5 in

(all measurements are approximate).

The white double binding is well done and matches the simple single-ply pick guard. The off-white tuning pegs (attached to open gears on the back of the 3-a-side headstock) compliment the vintage feel of the matte sunburst finish and dual, overlapping rectangle position markers.

You can read the full blurb and specs on the Cort Guitars website.

First impressions

This is a loud guitar that projects well. The new set of strings which the guitar came with still have that treble-heavy ‘zing’ that needs playing out, but this all-laminate jumbo box certainly moves the airwaves.

It feels comfortable to play. The matte finish feels like the satin fimish found on some electric guitar necks and invites fluid movement. The neck shape itself feels comfortable and the frets have been well finished (no sharp edges here).

One thing I hadn’t noticed prior to purchase was the lack of a second strap button, meaning one end of the strap would have to be strung around the headstock. However, installing a second button on the treble side of the neck joint (with a small amount of careful drilling) allowed me to attach the strap here. This meant that playing felt a little more naturally ergonomic for me when standing up.

Sounds & playability

This really is one of the loudest acoustic guitars I’ve ever played. The combination of it’s jumbo size and the bright strings make for an instrument that cries out to be strummed, whether it’s big open chords or comping more complex jazz voicings. The strings are well balanced and all notes ring clear. This remains the case when fingerpicking, which sounds wonderful on this guitar. For single line playing, the Cort offers a midrange bite that’s perfect for bluesy leads (think acoustic Clapton).

Plugged in, the guitar’s acoustic ‘zing’ is a little muted but still present. Through a PA, this guitar sounds a little boxy, like the archtops of the 30s and 40s, which is a result of the position of the pickup (as opposed to the traditional place, inside the guitar, under the bridge). The treble and bass controls have a wide range and do a good job of rounding this out, although it took me little experimentation to tune my ears into the sound I wanted.

Final verdict

I didn’t need to worry too much about onstage monitoring with this guitar, as it is more than loud enough for me to hear it live acoustically while playing. The Cort has performed admirably at several shows already, and recieved compliments for it’s appearance and sound.

My main gripe is the difference in sound between the guitar’s natural acoustic tone and the pickup. Although this served as an advantage when I took it along to a recent studio date. At the overdubs session in question, I used the CJ to add a solo and harmonies to a song with a laid back, country rock feel. Here, the neutral sounding plugged-in tone of this guitar provided the engineer and producer with a natural sonic base they can shape and sculpt to fit the sound they’re looking for.

Overall, there could be improvements, but at this price, there’s little to complain about. The build quality is exceptional and I now have a guitar I am happy to take out to shows of all shapes and sizes.

Seek one out and see for yourself.

Harley Benton HB-35 Plus Top Semi-hollow Guitar Review

Guitars & Gear

At the end of last year, I acquired a new second-hand guitar. It even shipped with a hard case included as part of the sale! The guitar in question is a budget 335-style copy, made by Harley Benton, the in-house grand for the German musical instrument retailing giant Thomann. Or rather, I should say the Harley Benton HB-35 Plus…

What does plus mean?

Harley Benton already have the HB-35, their budget version of a 335-style guitar. Selling for just £175, they get good reviews and are an affordable way to try out Semi-hollow guitars for the first time. The HB-35 Plus retails at approximately £220 new, but has features which mark it out as a considerable upgrade on it’s cheaper sibling.

So what does that extra £45 get you? Block inlays, for a start, which look very classy. You also get more specialised vintage-voiced humbucking pickups (which can be split for a single-coil sound) and an arched maple top (hence the plus top moniker) in fancier colour options, such as the lemon drop colour reviewed here.

Image from Harley Benton’s website – note the original placement of the pickup selector

I love this colour, which appears more of a light orange-yellow to my eyes.

Furthermore, it seems that the nut is slightly more narrow (42mm to the original HB-35’s 43mm) and a slightly more curved fingerboard (12″ radius, compared to the older model’s 13.5″ or thereabouts), making this guitar feel a little more like the classic ‘jazz boxes’ of old.

Specifications & build quality

Having bought this guitar from another player, I received an instrument which had already been set up, and indeed, modified. This means I don’t know how this guitar would have arrived ‘from the box’, although I hear that like most guitars, a simple set up would be enough to get it in shape.

The guitar I received felt well balanced across the fretboard and is really comfortable to play. The classic Gibson scale length feels familiar and the neck is comfortable in my hand. In fact, it feels like they have copied the dimensions of the classic 335 very closely, which is no bad thing.

What’s more, the previous owner had moved the pickup selector switch from the top shoulder (where you would find it on a Les Paul) to a sit with the other controls, which is much more typical on a 335-style guitar. The only negative is that the original hole is still there (it was covered with a giant sticker when it arrived, which I quickly and carefully removed).

Here are the full specs of the guitar, according the Harley Benton:

  • Semi-hollow design with mahogany sustain block (Entandrophragma cylindricum)
  • Maple body with AAAA flamed maple archtop
  • Set-in maple neck
  • Pau Ferro fretboard with block fretboard inlays
  • Fretboard radius: 12 inches
  • 22 medium jumbo Frets
  • Scale: 24.75 inches
  • Nut width: 42 mm
  • 2 Roswell LAF Alnico-5 vintage-style humbucker pickups
  • 2 Volume controls with push/pull function for split coil
  • Individual tone controls for each pickup
  • 3-Way pickup toggle switch
  • Tune-O-Matic bridge

The main thing on my list to change, and indeed the only upgrade I feel this guitar needs, is to swap the plastic nut for one made of bone. I’ll probably get round to doing this later in the year, and for now it’s working fine and holding its tuning well.

How does it sound?

Before even plugging into an amp, this guitar sounds good (and surprisingly loud) completely acoustic, which is useful for playing at home.

Plugged in – it sounds exactly as a 335 should.

Played clean, single notes and chords ring out loud & clear, sounding even across the entire fretboard. The pickups, combined with the tone controls, allow for everything from jazz and blues to soul, pop, country and an almost Gretsch-like Chet Atkins vibe. Using the push-pull volume to split the humbuckers down to single-coils beings out an airier version of a Telecaster sound.

Throwing a little overdrive in makes this a very enjoyable guitar to play. As well as offering grittier takes on all the styles and sounds mentioned above, you also get some of the best classic rock tones out there. Add more distortion and it continues to sound very good and play incredibly well. The semi-hollow body allowing gentle feedback which helps add to note sustain.

Putting the HB-35+ through it’s paces at home

This guitar not only took any style I threw at it in its stride, but excelled across the board, even in higher-gain settings. Admittedly, I don’t play the more extreme metal genres, but even then, if you can work out the likely feedback issue, I have a feeling this guitar would surprise you…

Does it hold up well at live shows?

Since acquiring this guitar at the end of autumn last year, I’ve gigged it pretty regularly. It performed brilliantly when I put it through its paces at a recent soul review show, covering Steve Cropper style licks and jazzier solos and choral work. With one of my main covers acts, this quickly became my first choice guitar, covering everything from jangle and early 60s pop to classic rock, punk and Britpop, all in the space of one show. It is comfortable both to play and also to wear standing up for two hours.

Ask most professional session guitarists what the best ‘cover all bases’ guitars are, for studio work and live, and they will probably tell you to have a 335 handy. Obviously, this applies to any decent 335-style guitar, if not the gold standard Gibson original. But it certainly makes sense to snap up this significantly cheaper tribute, especially when it looks classy sounds fantastic and plays so well. It may be that they take a little post-purchase work to reach the decent playing standard I seem to have, but in my opinion, it’s worth it.

This guitar is quickly becoming a firm favourite in my small stable of electric guitars (which includes Stratocasters, a triple P90 non-reverse Firebird copy, and my other, less traditional semi-hollow). In fact, it’s already become my main guitar for covers gigs, playing weddings and corporate functions.

Final Thoughts

This guitar surprised me. I’d heard really good things about Harley Benton, but I still wasn’t prepared to be blown away as much as I was by this guitar. I’ve used it in various settings and with several different acts in the last couple of months, covering styles from Kuti to Kasabian and BB to The Buzzcocks, and I’m very impressed with how it’s handled everything I’ve thrown at it.

Nowadays, the term ‘budget guitar’ doesn’t mean the same as it did twenty or even ten years ago, and shouldn’t arouse the kind of stigma which cling to those older, poorly constructed guitars. The quality on this instrument is very high, and I can’t stress enough just how fantastic those Roswell pickups sound!

After years (decades, even) of using Stratocasters as my main go-to guitar while others have come and gone from my collection, I might have found another guitar that I love just as much. I might even have to buy another of these, just in case something happens to this one – which at this price point, is an affordable prospect.

Highly recommended. Go and give one a try now.

Upcycled music: Neil McHardy ukulele review

Guitars & Gear

Last year, I commissioned another custom-built instrument. I was in the market for a ukulele I could take out to gigs, as my existing concert sized one did not have a pickup or preamp attached. Knowing Neil McHardy in Cumbria has built a few ukes recently, I asked if he would consider making a tenor sized electro-acoustic model for me. McHardy guitars operate from a village in Cumbria, making acoustic instruments out of recycled wood. Some of you may remember built his first ever classical guitar at my request, mainly out of an old table (you can read the full review by clicking here).

This time around, I was happy to let Neil design it pretty much however he wished. I am a fan of his signature offset sound holes, and my only stipulation was to include a preamp so the ukulele could be used for concerts and recording. As always, Neil sent regular updates on how the build was progressing (see pictures) and was always happy to impart gems of guitar and uke building knowledge.

The start of the build (credit: Neil McHardy)

Size matters

So what is the difference between a concert and tenor sized ukulele? A tenor is larger than a concert, sometimes up to four inches longer, but they are tuned the same. In fact, soprano, concert and tenor ukuleles can all be tuned the same (G4, C4, E4, A4). The main difference is volume and depth of bass response which the larger bodied instruments benefit from.

An example of the size and scale differences between different types of ukulele

With tenor ukuleles, some players also use a G string which sounds an octave lower (G3), effectively making he open strings sound exactly the same as the highest four strings of a guitar at the fifth fret. I can see how some players might find this easier, especially if they are migrating to the ukulele from the guitar. Personally, if I needed that sound, I’d put a capo on one of my guitars, so I have opted for the more traditional uke tuning.

Progress updates I received from Neil as the build continued (credit: Neil McHardy)

Specifications

The finished instrument is made from recycled Douglas Fir and Spanish Cedar. The face plate and scratchplate (or golpe) are made from fallen trees Neil found on a walk, and feature the most stunning grain, on which Neil has placed the tuning pegs in a line (rather than two per side, as is traditional).

Finished at last (credit: Neil McHardy)

With the addition of a good value preamp (powered by an easily removable 9 volt battery), this new uke was fitted with strings and Neil contacted me to collect it.

I love the look of the grain on the golpe and faceplate, and was impressed with the instrument’s volume when strumming it unplugged for the first time. Plugged in, it sounded the same as it did acoustically, just with the potential to go a lot louder – which is exactly what I would expect.

Family photo with my previous McHardy build, my gorgeous classical guitar

Unfortunately, I haven’t had the chance to try it out onstage yet, but I plan to use it in an upcoming recording project (more details on that to follow). But when that material comes to the stage, this uke will be out on the road with me. I can’t wait.

Things learned from watching The Beatles: Get Back (review)

Music

I’m a little late to the party, but I finally managed to watch The Beatles: Get Back. While it was incredibly interesting, I wonder if many casual fans were deterred by its duration. I’ll provide a little background then highlight the main takeaway points I found from this miniseries. If you have watched this, please let me know your thoughts!

Background

Peter Jackson’s documentary launched at the very end of November last year, in three 2+ hour installments. It covers most of January 1969, when The Beatles, assistants and tech crew assembled in a large recording sounds stage with a documentary film crew in tow. The original plan was to record an album of brand new music, written from scratch and performed live in some form. In the end, sessions were strained before the group love to the new studios in the basement of the Apple Corps (their own record label) offices on Savile Row. The project culminates in a half hour performance on the roof of this building before the police arrive to shut it down.

The music from these sessions was eventually released shortly after The Fab Four had split up. Legendary and infamous American producer Phil Spector was hired to make an album out of the material available, which had been largely worked on by regular Beatles producer George Martin and engineer Glyn Johns prior to the abandonment of the project. The resulting album (Martin later said that he produced it, and “then Spector over produced it” ), now called Let It Be, was released in 1970, seemingly against The Beatles’ wishes. Indeed, Paul McCartney eventually stripped the record of the elements Spector had added – the choir, stings, horns, etc, and re-released the record as Let It Be… Naked in 2003, hoping to finally covey the project’s original direct-to-tape aesthetic.

Parts of the film footage was released in a documentary film of the same name. But 50 years later, after hundreds of hours of footage was discovered intact, Jackson (director of the Epic Lord of the Rings film trilogy and a self proclaimed Beatles super fan) stepped in to create a new documentary which told the full story of this short period in Beatles history. It includes a vast swathe of footage never seen before, including moments when The Beatles did not realise they were being recorded (such as a microphone hidden in a canteen flower pot which picks up John Lennon and Paul McCartney frankly discussing how their own egos getting in the way of their music). Overall, it’s fascinating and many musicians I know have marvelled at being able to see how The Beatles worked out songs such as Get Back and Dig A Pony. Here’s a few other things I observed…

Paul doesn’t seem to know what he wants

Most of the Get Back project appears to be McCartney’s idea. He is the driving force behind the ‘live’ aesthetic, either in the form of performing to a live audience or recording without overdubs. However, he also seems a little lost and unsure of what he actually wants to look like. Sometimes it seemed like he was genuinely running out of inspiration (while simultaneously writing some great songs seemingly from scratch), and on other occasions he appears to have ore of a plan than he lets on, but is hesitant to force it onto the rest of the group. Perhaps he feared a mutiny if he pressed his ideas too forcefully. This does indeed happen in Episode 1 when Harrison reaches the end of his patience for having his playing criticised by McCartney (often without him providing a clear idea of what he wants George to play). Seeing McCartney’s indecision, or fear of being too forthright with his ideas, shows us a project that is doomed from the start.

Yet McCartney is not lacking in songwriting inspiration. He brings in Let It Be and The Long And Winding Road to be rehearsed by the band, having apparently written both if these songs almost to completion at home. I was left with the feeling that these were ‘back pocket’ songs; perhaps ones McCartney had considered keeping for a future solo album? However, when it becomes clear that the group don’t have enough material, he puts them forward, and of course, they end up being among the highlights of the subsequent album.

There is small but telling detail which emerges very near the end of Episode 3, after the rooftop concert has been finished and the band are recording the final takes for the album. During a moment listening back to a recent take of The Long and Winding Road, regular producer George Martin mentions McCartney having discussed adding a sting ensemble to fill out the sound on the record. The moment goes by quickly, and McCartney is very noncommittal in his acknowledgement of this statement, but it goes very much against the straight-to-tape aesthetic pursued by none other than McCartney himself. It indicates to me that perhaps his stated intentions and private desires have not always been the same.

Two things saved the session from an even earlier end

The huge soundstage The Beatles start in gives them acoustically-related problems from the outset, and appears to prove a hindrance to their creativity. Speaking from my own experience, it is hard to really dig into new songs, or even your own playing, if you’re struggling to hear everything around you clearly. Their decision to relocate to their just-completed basement studio in the Apple Corps office gives them the opportunity to work on the songs they have started in a more familiar and better sounding environment. You can see in Episode two how much more quickly things come together for the group after the move. But there is anoter factor which helped things along considerably, and arguably saved the project altogether…

The arrival of Billy Preston to the sessions is the real turning point in the Get Back sessions. The Beatles had first met Preston in their early days of performing in Hamburg. Preston was part of Little Richard’s band and was in London performing with Ray Charles when he ran into George Harrison and popped into the sessions to say hello. Once invited to sit in on electric piano and organ, something clearly changes for the better in the atmosphere of the sessions. This happened once before during the recording of their previous album, 1968’s The Beatles (also known as ‘The White Album’ due to it’s blank cover). Harrison has spoken about having fond memories recording While My Guitar Gently Weeps with Eric Clapton providing an (at the time anonymous) guest solo, because the band were all on best behaviour in the presence of a guest and friend. In a similar way, things seems much less acrimonious or stressful once Preston starts adding to the Get Back sessions. It is clear that the group enjoy his contributions. Lennon even suggests recruiting him officially, to which McCartney counters that it is hard enough reaching agreements between the four of them already! The value which The Beatles themselves placed on Preston’s presence is evidenced in the initial release of the song Get Back as a single – it is credited to “The Beatles with Billy Preston”. High praise indeed.

Ringo seems to play no part in the decision making process

The Get Back sessions are full of decisions, indecisions, wrong decisions and changed decisions. Arguments, conflicts, reflections on their egos and statements of intent. But none of them come from drummer Ringo Starr. Although jokey and stylish as ever, once he sits behind the drum kit, Starr quietly listens as the three remaining members pf the band discuss arrangements or argue. Sometimes suggestions or directions are given to him on how he should play. Interestingly, he is more often than not left to create his parts based on what he hears, showing a high level of trust his band mates place in his abilities.

Yet I still found it striking how – in these sessions at least – it is Starr who is the real ‘quiet one’ of The Beatles.

Several elements precipitated the breakup of The Beatles, but Yoko Ono probably wasn’t one of them

Yoko Ono is a presence throughout this documentary series. But it doesn’t appear disruptive. Sure, during some of the downtime moments, she joins in the free-spirited jams by wailing down a microphone, but most of the time she sits by Lennon, supporting him silently in a way I think he obviously needed at the time. She is seen chatting amiably with the wives and girlfriends of the other members of the band, but nothing we see of her in this series, either voiced aloud or whispered into Lennon’s ear, gives any indication that she was responsible for the tensions the band faced, or their eventual breakup later in the same year.

Those tensions, and those decisions, came from the same place they had since the passing of the band’s manager Brian Epstein a few years before – they came from the four members of The Beatles themselves.

Final thoughts

It was fascinating to see how big the team around The Beatles had become by this point in the life of the band. From the arguments and arrangements to the songwriting and even the business side of The Beatles rearing its head again and again, we are given a clear picture of a small group of people hemmed in by their own success and unsure the best way to continue. Although their main team is comprised of trusted individuals, long term partners and even old friends from their days in Liverpool, the heart of this miniseries is the four members of The Beatles themselves. Many were close – very close. But the only four who really knew what it meant to be a Beatle were John, Paul, George and Ringo. Somehow, it seemed to keep the together, against everything and everyone else. At least, that is, for a time.

Overall, this is a truly fascinating insight into the end of one of the most influential, if not the most influential, musical groups in popular music history. The famous rooftop concert might be one of the less interesting things in this entire series, though this might be because many of us have seen or heard this before (indeed, a few of the live tracks from this concert were used in the final album). It was so much ore enlightening to see the group at work, crafting and recording songs, just like musicians across the world still do today. It is worth watching, but be warned, it’s a long, deep dive…

2021 in books (October – December)

Books

Here we are, racing into yet another new year already! I hope everyone is settled into their routines and is tackling January as best as they can.

Last year seemed to get busier as we progressed through to Christmas for me. Some of it therapy related, some of it music related (on that note, keep your eyes peeled for a new announcement by the end of the month about an exciting new project). It seems like reading time was well and truly diminished. My New Year’s resolution is to always make time for reading! Nevertheless, here are my customary reviews of the titles I did manage to read from October to the end of the year…

Child I by Steve Tasane (2018, Faber & Faber)

Lauded novelist and performance poet Steve Tasane is the son of a refugee himself. He wrote this story to highlight that which us desired by all children: the want to beling;the want to not be hungry”; the want “just to be able to laugh and play”.

The novel, aimed at young adults, focuses in a small group of unaccompanied children in a mud-soaked refugee camp. It is a sparse, poetically written and moving tale about children without any proof of identity, stateless and lost. But what caught my eye was the presentation of this book, starting as it does right at the beginning, on the very front cover…

Such an unusual stylistic choice shouldn’t have caught me so off-guard, but I found myself a page or in before I realised it wasn’t merely a text-heavy cover page. Yet, it makes sense. Why would a refugee used to precious few resources waste paper?

Leah Price wrote about the layout of books in her book about books, reviewed here. Similarly, this short story (just 186 pages) certainly made me reconsider the accepted form most of our books are packaged in, and nowadays taken for granted. Why exactly do we need those introductory leaves in the same order each time?

However, the real thought-provoking issue isn’t the format in which the text is presented but the way it gives life to paperless, and in this book, nameless (each child is assigned initials, used throughout the book, as the authorities are unable to confirm their real names), children such as Child I, our eponymous narrator. This brief but beautiful book is not just for young adults, but for all.

Confronting the classics: traditions, adventures and innovations by Mary Beard (2013, Profile)

Following last month’s special instalment on Roman history titles, I found myself picking this collection of essays off the shelf of a local charity shop. And once again, it’s not a typical book. Rather, it is a series of Beard’s book reviews from the last couple of decades, collated here along with her ‘manifesto’ on whether the classics have a future, and her rationale for using reviews a means of widening historical debate. On that score, Beard will find no argument from me – as one who publishes succinct reviews of every book I read every quarter, who am I to judge?

In previous installments, I have recommended essay collections. I find them an enjoyable way to learn something on a subject where an entire book might dissuade you from reading about it altogether. They are also perfect for shorter time frames, where one chapter or subject can be finished in one sitting. In this collection, Beard praises, critiques, questions and in some cases outright savages the work of her peers,but maintains her vivid style of wit and enthusiasm throughout. She regularly highlights how source material can be selectivity interpreted when authors are attempting to make a particular argument, forcing one to rethink how we read history.

After reading Beard’s reviews, I came away with a very good sense of what the original book was getting at, without having to read it. In a sense, this books gives you over thirty for the price of one! Even the most casual fans of classical history should cast their eye over this collection.

The Monk of Mokka by Dave Eggers (2016,)

I actually read this over the summer, but as it was the only book that wasn’t in some way related to Roman history, I decided to hold back my review until this installment.

Eggers brings us a tale on behalf of Mokhtar, a Yemini raised in San Francisco. Almost through chance, an aimless Mokhtar develops a passion for coffee and sets off on a mission to bring coffee from Yemen back to the global market – just as civil war breaks out in his homeland. As well as learning about the process the beans go through before they reach our cups, we follow Makhtar’s attempts to escape the country, not only with both his shipment of coffee beans, but with his life.In all honesty, the book is propelled by the story. The narrative is engaging where the writing is sometimes not, and it is string enough to keep one reading. Recommended mainly for coffee aficionados. You can read more about Mokhtar and his foundation at his Port of Mokha website.

Scandinavians: in search of the soul of the North by Robert Ferguson (2017, Head Zeus)

Ferguson looks back through the history of the Swedes, Danes and Norwegians to draw out what links them and what gives them their unique cultural personality. These dives into history are intersected with vignettes from the author’s own life, having travelled around and lived in various parts of Scandinavia in the last five decades.

Ferguson seeks to ascertain the origins of the Scandinavian character. In terms of the ‘brooding melancholia’ one might associate with the land of long winters nights and Scandi-noir drama, he points to various moments in their history, from the cultural drought brought about by Sweden’s reformation in the medieval period to the time of (playwright) Isben and (artist) Munch and their creative work full of intense angst. Ferguson examines not just the culture itself, but the effect on how outside nations perceive these three separate but interlinked nations.

Ferguson certainly a few interesting arguments. However, there doesn’t seem to be a definitive conclusion, and the book feels somewhat unfinished as a result. Worth a read for those interested in Scandinavian culture and history. It also highlights a few interesting locations to visit if you find yourself travelling there anytime soon.

My favourites from 2021

I was surprised by how much I enjoyed the Themis Files trilogy. I recommend it to any fans if science fiction looking for something a little different. I also enjoyed and recommend Yevgeny Zamyatin’s distopian tale We. These two were standouts in another good year of reading (both reviews can be read here).

I have noticed that I have shied away from music books in recent years, perhaps as they represent something of a busman’s holiday. However, there are a few music titles making their way into my to read pile along all the history and fiction, so watch this space…

As always, let me know what you’ve been reading, as well as your favourite books of 2021. In the meantime, stay safe and happy, until next time…

2021 in books (April – June)

Books

Where does the time go?

The last few months have been incredibly busy. Live performances might still be few and far between (only one so far this year) but upcoming changes to my music therapy work have kept me in the office more than usual. I found myself lacking the energy or will to read at times, but lie most things in life, this too passed…

Here are the books I did manage to read in the last three months. They’re a bit of a mixed bag. More than ever, they made me think about other books I’ve read, some of which I have recommended below at appropriate points. Let’s dive in…

A moveable feast by Ernest Hemingway (1964, Vintage)

Hemingway’s account of his time in Paris, from around 1920-1926, was written in the last years of his life, at a distance of over three decades. It gives some insight into his method of working, at least at the time, as well as his opinions on other famous figures whom he came into contact with, including Scott F. Fitzgerald, Gertrude Stein and Sylvia Beach (proprietor of the famous Shakespeare & Co. bookstore on Paris’ Left Banke).

This memoir is an interesting dive into one period of the life of a man considered to be one of the Great American Novelists. It paints a strong picture of the streets and scenes of the City of Light during the so-called ‘Roaring Twenties’. However, don’t rely on it as a guide book. Almost a century on, Paris has changed, making this book of short, descriptive chapters something of a time capsule.

This book is one of many I’ve read about Paris, the ‘City of Light’. Despite their proximity to Britain and the intertwining histories of both nations, there’s so much to be learned from looking into the past of one of the UK’s closest neighbours. Other books on France and Paris which might be worth your time:

  • For a more up to date and light-hearted look at France’s wonderful capital, try Paris Revealed by Stephen Clarke. Chapters are divided by subject such as food, addrosiments, apartments and the Parisiennes themselves, all from the loving but bemused perspective of a Brit who has lived there for years (2011, Black Swan)
  • The Little Pleasures of Paris, meanwhile, is more of a small coffee-table book. Author Leslie Jonath divides the things she adores about the City of Light into four sections; one for each season. Each entry is short, but accompanied by beautifully chic illustrations by Lizzie Stewart (2016, Chronicle)
  • Jeremy Mercer’s Bedbugs and Baguettes is partly the memoirs of his time in Paris, and partly the history of where he ends up staying, the famous Left Banke bookshop Shakespeare & Co (named after the original shop, which had closed years before), as well as its colourful owner, George. One for bibliophiles (2007, Magna)
  • For a more general overview of the nation’s history, Modern France by Jonathan Fenby offers a fascinating insight into the how France got to where it is now, starting with the revolution of 1789 (2015, Simon and Schuster)

I am Pilgrim by Terry Hayes (2013, Transworld)

Loaned to me by a friend, this fast-paced thriller is the debut novel of the screenwriter behind Mad Max 2, Dead Calm, Payback and From Hell, among many others. Two quotes from John Le Carre and Raymond Chandler at the preface of this book highlight Hayes’ influences in the world of espionage and detective fiction. View these alongside the many Clancy/Grisham style thrillers (which often end up being remade into the sort of film he’d write the screenplay for) and you have the measure of this novel.

Saying that, this is a good book. It’s 888 pages are divided into four parts, each of which is made up of short chapters that left me wanting to read ‘just one more’ before setting the book down for the night. Part one features a lot of flashback or scene-setting chapters that initially made me wonder exactly where this book was going. However, Hayes does a good job of tying up pretty much every thread in this novel. Very little is remains a mystery by the end of the book. If that’s something you like to see in your thrillers, give this book a go. Don’t expect a deep examination into the soul of humanity, or even genuine development of any of the side characters (or even the main protagonist narrating in first-person, for that matter). But be assured that the story is gripping.

Shylock is my name by Howard Jacobson (2016, Vintage)

Another Shakespeare adaptation, this time retelling The Merchant of Venice. Shylock is a challenging antagonist for modern audiences uncomfortable (and rightly so) with the antisemitism throughout the Bard’s original play. Jacobson won the Man Booker prize in 2010 for The Finkler Question, a novel which explores the author’s experience as a British Jew (you can read my short review for that book here), but has also written on heroes from Shakespeare’s plays. Perhaps this reimagining of Shylock was the next logical step?

As you may have read previously, I had mixed feelings about The Finkler Question, and this novel leaves me with a similar feeling of dissatisfaction. It’s an interesting concept and a good story with lovely, funny moments in it, but overall, it felt like it wasn’t quite good enough. Fans of Jacobson will love this book, but it’s not high on my list of recommendations.

England’s forgotten past by Richard Tames (2010, Thames & Hudson)

The full title of this small (185 pages), fact-filled book is almost a chapter in itself: England’s forgotten past: the unsung heroes & heroines, valiant Kings, great battles & other generally overlooked episodes in our nation’s glorious history. It’s eight chapters are subdivided further, with various ‘fact boxes’ and illustrations along the way. As well as bringing lesser known characters and events from English history to light, Tames also sets the record straight on some common misconceptions. Worth a read for the casual history fan, although it’s brevity might make one feel as if they are reading a collection of factoids, such as those published by the BBC factual/comedy quiz QI (or Quite Interesting, to give the show’s full title).

Publisher Thames & Hudson have a wealth of interesting titles which, similarly to England’s Forgotten Past, offer brief glimpses into less well-examined areas of history. Of those I have read (and there several more on my ‘to buy list), personal favourites include:

  • Shakespeare’s London on 5 Groats a Day, also by Tames (2018), looks at the alehouses and streetlife of London during the Bard’s lifetime. Taking in everyone from “courtiers to cut-throats” and of course, the dramatists and actors who were Shakespeare’s colleagues and contemporaries, we get the interesting perspective of medieval history from street level
  • Histories of Nations: how their identities were forged (Ed. Peter Furtado, 2012) features contributions from numerous writers, usually focusing on one small facet of a country’s history and how it helped create, or reflects, the nation we might recognise today
  • The Great Cities in History (Ed. John Jules Norwich, 2009) is another brilliant collection of short essays by various writers. Divided into four parts (ancient, medieval, early modern & modern), each chapter focuses on a city in its heyday, from Thebes in the Golden Age of Egypt to present day Shanghai as “China’s Super-City”
  • Finally, History Day By Day (Peter Furtado, 2019) is a collection of quotes from history for every day of the year. The 366 voices compiled range from Joan of Arc to JFK, and Galileo to Gandhi, bringing history to life through the words of those who lived it

The algebraist by Iain M. Banks (2004, Orbit)

Banks was well known for holding down two slightly different fiction writing careers: ‘regular’ fiction such as debut novel The Wasp Factory as Iain Banks, and science fiction with the middle initial ‘M’. Most of his sci-fi output was his epic & complex Culture series. But this novel is one of his few standalone sci-fi stories.

Having read most of the Culture novels, I knew roughly what to expect and everything which makes that series so popular is present here, except for artificial intelligence (which is illegal in this story). Instead we get a very descriptive sort-of thriller inside a space opera, centered around varying species of life: the “quick”, who’ve only been round for mere thousands of years such as us, and the “slow” – jellyfish-like creatures inhabiting gas giants and almost as old as the galaxy itself. If you can get on board with that concept and the speculation which comes with it, then you’ll probably enjoy this book. I can see similarities between this and I Am Pilgrim, although this sci-fi novel has considerably longer chapters and isn’t quite as quick a read.

So there we are for now. As always, get in touch with your own thoughts and recommendations for future reading. I’ve had some great book chats with a few folk since I started cataloguing my ‘fun reading’ and my list of books to read is getting longer every week.

I’m already into the books which will be featured next time. Expect music, history, travel and an extraordinary adventure in search of a good coffee…

A year of books (October-December)

Books

Can you believe it? 2020 is over, and what a year!

No gigs since March, continuing to carry out my music therapy work in the middle of a worldwide pandemic, while the world is turned on it’s head… But there have been books. Previous installments of this series can be found here:

Even in my time not working, stuck at home, I feel like I’ve had less time to read (children take up your entire day if work doesn’t). So unlike some of my bibliophile friends, I’d sy I’ve read less in 2020, compared to previous years. Despite this, I’ve certainly enjoyed taking stock of every title I’ve read (with the exception of music therapy and psychotherapy books – I might provide some recommendations from those fields in a specialist interest article in the future). I well might continue this habit in 2021.

But for now, here are the non work-related titles I managed to read in the final quarter of 2020…

What we talk about when we talk about books: the history and future of reading by Leah Price (2019, Basic)

An interesting rebuttal to the common cries of “print is dead”, highlighting the ever-changing use of the book as an object and as an idea. The book is full of interesting information. For example, did you know that self-help books from local libraries are prescribed by the NHS in Wales to help treat depression? Price turns this tidbit into an entire chapter, although whether or not this needed an entire chapter is up for debate. The chapters feel like a compilation of essays which feel like they’ve been extended to make this ‘book worthy’. And for a book about the history and future of reading, padding out the chapters with repeated information feels like the author is doing her subject an injustice. This short book could have been even shorter, but less repetitive, and no less interesting as a result.

Finally, the middle ‘interleaf’ chapter uses the interesting device of running the text across both pages before starting a new line. This takes a little getting used to, not least because the text doesn’t always line up correctly between the left and right pages. Interesting, but perhaps only for skimming through.

Bue remembered Earth by Alastair Reynolds (2012, Gollancz)

I’ve read a few science fiction novels by Reynolds, such as the brilliant standalone book House of Sun’s. His experience before becoming a full-time author – namely his PhD in astrophysics and his work with the European Space Agency – mean that he can add an element of realism to what is obviously a fictional piece of work. Indeed, he has been quoted as saying he prefers to stick to writing about only the future technologies he believes to be possible (so light speed travel rarely makes an appearance in his work). This first novel in Reynold’s Poseidon’s Children trilogy sticks largely to that sensibility, while still encompassing some brilliantly fantastical elements such as off-world settlements and trans-human experimentation.

Set around a century or so into the future, the two main characters are brother and sister, heirs to a large family dynasty in Africa, now one of the world’s main centres of economic power. The death of their grandmother leads them on a trail away from Earth, to colonies on the Moon, as well as Mars and its two moons. Utopia, mystery and afrofuturism are combined in an intelligently written and well paced novel. I’ll be adding the next two novels in the series to my ever-expanding ‘to read’ pile…

The mirror and the light by Hilary Mantel (2020, Fourth Estate)

I’ve been waiting a while to read this, not least because the release of this novel, the final of Mantel’s ‘Cromwell Trilogy’, was pushed back more than once. But then, if the first two instalments of your historical fiction trilogy (Wolf Hall and Bring Up The Bodies) both win the Booker Prize for fiction, you want to make sure the last book is the best it can be. I can confirm that this novel is as good as it’s two predecessors.

The first book looked at Thomas Cromwell’s rise to become the senior advisor of Henry VIII, the second continued his survival at the top while accruing further positions of high office. This final novel deals with the last four years of Cromwell’s life, starting at the exact moment Bring Up The Bodies ended – the beheading of Anne Boleyn. It shouldn’t be much of a spoiler to say that Henry VIII turns on Cromwell – history suggests that he seems to do so on almost everyone around him, given enough time. Yet even though you might know (or could certainly guess) the ending, the journey there is so wonderfully written that you won’t mind. Mantel employs a [articular style of first person that can be a little difficult to get used to, but it’s worth persevering as it soon becomes normal, and fits the story (told from Cromwell’s perspective) perfectly.

The Mirror And The Light is a rich novel, full of detail, intrigue and a huge cast of characters. It marks a wonderful end to a fantastic trilogy of books. It remains to be seen if Mantel can get the ‘Booker hat-trick’ with this novel, but prizes aside, this book should be required reading for all fans of historical fiction, literary fiction, or indeed just good old-fashioned fiction.

Dave Brubeck: a life in time by Philip Clark (2020, Headline)

This newly-released biography of the famous jazz performer and composer was a Christmas present, and as a result, I haven’t finished it yet! However, although I’m only a third of the way in, I’m finding it an absorbing read so far. I believe fans of the jazz genre would be similarly interested in this book, which shows how much more there is to Brubeck beyond his most famous piece, Take Five. Sometimes dismissed in the past by jazz lovers who prefer who improvisation of bebop legends Charlie Parker, John Coltrane, and so on, Clark’s tome will help with the current restoration of reputation Brubeck (or rather his life and body of work) is currently experiencing. Brubeck was an devotee to music as an art form, and a lifelong anti-racist. Given the circumstances we find currently ourselves in, a renewed respect for Brubeck couldn’t come at a better time. I’m looking forward to quickly finishing this book in the first few days of 2021.

So there you have it. That’s around twenty books I’ve read in 2020 (that aren’t related to music therapy). Having counted them up, it definitely feels like less than a typical year – but then, 2020 has been a far from typical year!

As always, I’d love to hear what all of you are currently reading, as well as your thoughts on any of the titles I’have mentioned in these summaries.

Happy new year and happy reading!

Harley Benton launch £70 power amp for guitar pedal boards

Guitars & Gear

Greetings guitar folk. We are back with a little bit of guitar gear news which seems to have dropped this morning…

Most guitar players have probably heard of Harley Benton before. The brand (owned by the European online music superstore Thomann) are well known for bringing surprisingly good guitars into the beginner/lower priced end of the market which have significantly better quality control than their rivals (their 335 copy is in high demand). They also offer a range of instruments and accessories that are useful for working musicians to have in their arsenal. To that end, they have introduced the GPA-100, a power amp that fits in your pedal board.

Here’s a link to the Harley Benton page for more information

The GPA-100 features master volume, plus 3 band EQ (treble, middle, bass). It’s main purpose might be to save the day, should your main amp/floor unit fail. And £70 is a small price to pay for that piece of mind.

If I have the chance to test one out, I will drop a review on here. If you buy one, please let me know what you think! Bye for now!