Never let it be said that I’ve no room in my life for pop music – proper, popular, chart-friendly, hands-in-the-air, dance-around-the-kitchen pop.
I admire the fact he was still writing at 88, and he can certainly spin a good yarn after all those years. But, oh man, John LeCarré’s latest spy saga is filled with excruciating anachronisms that make the 21st century seem like a foreign country.
I confess I had not read a le Carré since my youth, when I found those classics like Tinker Tailor Soldier Spy dense, complicated and a bit dry – but fascinating and well-written.
This one, written in his late eighties and published a year before his death last year, is none of those things. And it really shows his age – something I did not see mentioned (much) in the mostly favourable reviews.
My friend Mel Griffiths made the accurate observation that, although it’s set in the present-day, it actually *feels* while you’re reading it as if it’s set in the Sixties.
Perhaps unwisely, it’s written in the first person, from the point of view of an English spy in his mid-forties, and set in London today – a place where tennis courts are made of “tarmacadam,” phones are always “telephones,” bikes are always “bicycles” and sunbathers in parks are only ever “young girls in summer dresses.”
Our narrator is obsessed with the “shiny white thighs” of a colleague in her twenties, referring at one stage to a minor disagreement as “our first lover’s tiff – and we never made love.” When sex does eventually rear its head (a term he thankfully avoids), it is referred to anachronistically as “bonking” – a word no one has surely used for at least two decades.
Post-Brexit London is also a world upon which popular culture has yet to intrude – the only reference to music, in the life of a man who would have been in his teens during the Rave era, is a Schubert lieder, though Sting gets a mention.
At one point he remarks of another character in his twenties: “The biggest gift you can give the young is time.” Which is an odd observation from a 46-year-old; especially one who regularly uses the Footballer’s Pronoun, as in: “Prue and myself went for a walk.”
The anachronisms kick in early: the book begins with our hero receiving a coded message from his local Post Office – echoes of Agatha Christie there – while his fellow spies smuggle “microfilm” to one another. I’m not a spy but I imagine they use the Dark Web these days.
And one of the MI5 types actually refers to our European neighbours as “The Huns and The Frogs.” Really?!
It’s just a teeny bit creepy and sad, and our poor spy doesn’t even seem to be able to google salient facts about suspicious characters he’s investigating (“He went to a grammar school – I forget the name”) or even the film he went to last night with his wife (“I forget the name of the film”).
It’s a miracle the Circus still lets him spy.
Here’s a new playlist for the end of Spring and… hopefully… the start of Summer. There’s seminal hip-hop, hardcore techno, primal punk, vintage soul, vintage folk-rock, funk, country and Congolese rumba. And probably more besides.
Charley Crockett is a new name to me, though I feel I ought to have heard of a guy who’s made 14 albums in nine years. His hybrid of country, blues and soul taps into that sound forged at Muscle Shoals in the late Sixties and Seventies, with smouldering horns and searing blues guitar matched to a country twang.
Mel Day first came to fame at the age of 77 as a contestant on Britain’s Got Talent. Now he’s made a brilliant slice of Deep Soul with Tito Lopez Combo.
There was a time when the demise of a Moody Blue might have made headlines; at least in the music press. This week the death of keyboard player Mike Pinder – the last of the original members – passed almost unnoticed. But not by me.
The sun is out, the sky is blue and you’ll forget the mercury is hovering just above freezing as soon as you hear this tasty slice of funked-up Congolese rumba.
A chilling psychodrama about coercive control, Spencer works equally well as a Hitchcockian ‘woman in peril’ horror and as a true-life insight into the dynasty that has ruled Britain for more than a century.
From the moment I first heard and saw them in December 2018 at The Good Mixer, I’ve loved Fontaines D.C. This may be their best song yet.
Sad to hear of the death of one of hip-hop’s unsung pioneers, Keith LeBlanc, creator of this landmark collaboration with black rights leader Malcolm X.