GENESIS – THE ULTIMATE MUSIC GUIDE (2017, Uncut, 122pp) ∗∗∗∗
Blurb: The Ultimate Music Guide: Genesis, then, seeks to explain the whole shapeshifting brilliance of the band. We’ve delved deep into the archives of NME and Melody Maker, finding interviews with the members that have languished unseen for decades. You’ll see characters emerging and plans being formulated, key figures stepping in and out of the spotlight. A career path being mapped out that does not always appear obvious, but which incrementally builds Genesis into one of the biggest bands of their era. Alongside all these revelatory interviews, we’ve written in-depth new reviews of every single Genesis album, from their 1969 debut right up until 1997’s Calling All Stations, stopping off at all auspicious points in between. We’ve also investigated the significant solo careers: not just of Peter Gabriel and Phil Collins, but of Steve Hackett, Anthony Phillips, Mike Rutherford and Tony Banks, too. It’s a tricky tale, but an endlessly rewarding one.
Uncut‘s series of The UltimateMusic Guide finally gets around to Genesis. The magazine stretches to 122 pages covering all aspect of the band. Each album is reviewed by a different writer, which ensures they get a dedicated hearing, but also means there are some inconsistencies in terms of judgement and comment. Having said that, there is an admirable balance across the whole of the band’s output as the writers resist falling into the trap of siding with the 5-man line-up or the trio. What this means, however, is that some tracks within the albums are not rated according to their status within the fan base. Classic Genesis songs like Firth of Fifth, I Know What I Like, Los Endos, Afterglow, Duke’s Travels/Duke’s End, Home by the Sea, Domino and Fading Lights all receive just 3-stars, which is hard to accept. However, everyone will have their own favourites and there are some compelling arguments here for the stance taken. The interviews pulled from the archives of NME and Melody Maker are weighted toward the early years. Both papers took with the punk crowd in the late 70s and were savage in their treatment of Genesis thereafter – the later review extracts demonstrate this. The band members’ solo careers are also covered, with particularly interesting perspectives on the output of both Peter Gabriel and Phil Colins. Despite its flaws, this is a good read and an interesting take on a band that, despite its popularity with the music buying public, continues to divide opinion amongst critics.
SHAFT: IMITATION OF LIFE by DAVID F. WALKER/DIETRICH SMITH (2017, Dynamite, 104pp) ∗∗∗∗
Blurb: After a high-profile case puts him in the headlines, private detective John Shaft is looking for something low profile and easy that will keep him out of the spotlight, out of danger. Shaft takes a missing person case that proves to be more difficult than he initially thought. At the same time, he is hired to be a consultant on a low budget film that may or may not be based on his life, and proves to be as dangerous as any job he’s ever had. But when there’s danger all about, John Shaft is the cat that won’t cop out – even if it means squaring off against sadistic gangsters that want him dead.
The trade paperback publication of this four-part comic book arrives a year after similar treatement for Shaft: A Complicated Man. David F. Walker returns as writer and is partnered with Dietrich Smith as artist. The book demonstrates the confidence Walker took from his critically acclaimed debut as the literary heir to Ernest Tidyman’s creation. The story stretches itself around social issues of a decaying New York and the expoitation of young gays through pornography. Walker also finds time to seemingly take a satirical swipe at some of the excesses of Blaxploitation cinema, by having Shaft work as a consultant on a film based on his own exploits, only here exaggerated to comical effect. In reality, however, this is a dig at the makers of the proposed new Shaft movie, which is reported to have a comedic slant. Smith’s artwork is more bold and colourful than the more sensitive tones applied by Bilquis Evely. His work is very effective and at times sublime – notably in the use of light and shade at the start of Part 3, where Shaft is interviewed by detectives in his office. Ultimately, whilst the story lacks the dramatic and emotional bite of Walker’s debut, it is an entertaining read lifting the lid on the sleazier aspects of early 1970s New York. Unlike the TP publication of Shaft: A Complicated Man, this book comes without any extras, such as an introduction, script extracts and character profiles, which is a shame. It is also a shame that Dynamite seem to have stalled on any new Shaft output – with as yet no commissioned third comic book or follow-up novel to Walker’s excellent Shaft’s Revenge. There is also no news of the continuation of the reprints of Tidyman’s originals. I hope the publisher has not lost interest in the series and that we see more Shaft output very soon.
DARK WINTER by WILLIAM DIETRICH (2001, Warner Books, 388pp) ∗∗∗
Blurb: At America’s base at the South Pole, 26 “winterovers” complete the yearly ritual of waving good-bye to the “last plane out,” then summon their energies for that season’s battle with constant darkness, total isolation and murderous cold that can dip well beneath 100 degrees below zero. Little does the group guess that in succeeding days and weeks, they’ll be tested not just by unimagineable weather extremes, but by a murderer intent on gradually eradicating them. Jeff Lewis, as the latest to arrive, becomes the chief suspect when staff members begin to go missing. But he’s hardly alone in attracting suspicion. As the death toll mounts and the camp’s communication with the outside world is all but extinguished, the fault lines that always lie below the surface of any co-operative effort split open. As hysteria develops and scientific jealousies, romantic entanglements and class bitterness intensify the friction, the polar habitat itself – a football-field-sized dome holding temperatures at tolerable levels – becomes compromised. What’s left is a stark choice: root out the psychological contaminant, stop the murderer and the dissent he has sewn, relearn co-operation – or slide down a dark tunnel of everlasting cold.
The Antarctic setting is the star of this book. Dietrich has a feel for the isolation and absolute cold and having personally visited the location, the author is very capable at desribing the environment in which this psychological mystery is set. There are problems though. Dietrich spends a good third of the book establishing the setting and introducing his large cast of twenty-six characters. This slows the pace to a crawl in the book’s early sections and less patient readers may abandon ship. But, once the murders begin the pace quickens. The McGuffin is a priceless rock from a meteor, which has been disovered in the ice and becomes the motive for the murders. The characters all have their own reasons for being at the Pole and their suspicion of Lewis, as a late addition to the party, coincides with knowledge of the meteor becoming public and the first of the deaths. Howeber, as the murders increase, credibility becomes stretched. This is ultimately something that would make a passable movie adpatation – with its references to John Carpenter’s The Thing, betraying its inspiration of an isolated group gripped with paranoia. As a book it is diverting enough, despite its uneven pacing.
SHALL WE TELL THE PRESIDENT by JEFFREY ARCHER (1986, Pan, 331pp) ∗∗∗
Blurb: At the end of The Prodigal Daughter, Florentyna Kane is elected President – the first woman President of the United States. At 7.30 one evening the FBI learn of a plot to kill her – the 1572nd such threat of the year. At 8.30 five people know all the details. By 9.30 four of them are dead. FBI agent Mark Andrews alone knows when. He also knows that a senator is involved. He has six days to learn where – and how. Six days to prevent certain death of the President.
This is the revised version of Archer’s original novel, which was published in 1977, with characters altered to form part of his Kane and Abel trilogy. The story is a traditional race against the clock thriller with it’s hero, FBI Mark Andrews, making a poor detective who walks past vital clues whilst attempting to foil a plot to kill America’s first female President. Archer’s writing style is a little too British for the subject matter and inconsistent – sometimes tight and at other times meandering – but he somehow manages to maintain the reader’s interest throughout. Throw in a romance with a female doctor, who happens to be the daughter of one of the mains suspects, and you also have a level of plot contrivance too. The pace quickens as the clock ticks down to an exciting , if brief, finale.
SIRENS by JOSEPH KNOX (2017, Doubleday, 374pp) ∗∗∗∗∗
Blurb: Isabelle Rossiter has run away again. When Aidan Waits, a troubled junior detective, is summoned to her father’s penthouse home – he finds a manipulative man, with powerful friends. But retracing Isabelle’s steps through a dark, nocturnal world, Waits finds something else. An intelligent seventeen-year-old girl who’s scared to death of something. As he investigates her story, and the unsolved disappearance of a young woman just like her, he realizes Isabelle was right to run away. Soon Waits is cut loose by his superiors, stalked by an unseen killer and dangerously attracted to the wrong woman. He’s out of his depth and out of time. How can he save the girl, when he can’t even save himself?
This is a remarkably assured debut from Joseph Knox that explores the seedy criminal underworld of Manchester. The book is a dark, modern take, on the noir-mystery genre. There are echoes of Chandler, MacDonald, et al, in Knox’s first-person narration, but more so this has an instinctive feel for time and place. It is also a depressing tale populated by characters with few, if any, redeeming qualities. Even Knox’s hero, Aidan Waits, has more than his fair share of troubles, including his own drug dependency. Despite this, Knox’s writing style keeps the reader gripped from start to finish as the mystery unravels. His use of short, one-scene chapters, and his sectioning of the book into effectively six acts, all carrying a single word title, gives the novel the structure of a TV mini-series, which this could well become. The book took Knox eight years to complete and his sense of perfection has resulted in one of the best debut crime novels in recent years. Where he will take his lead character in the promised series will be interesting, as there is a sense that Knox has put everything into this. Like his hero, I am hooked.
THE DARKEST GOODBYE by ALEX GRAY (2016, Sphere, 456pp) ∗∗∗½
Blurb: When newly fledged DC Kirsty Wilson is called to the house of an elderly woman, what appears to be a death by natural causes soon takes a sinister turn when it is revealed that the woman had a mysterious visitor in the early hours of that morning – someone dressed as a community nurse, but with much darker intentions. As Kirsty is called to another murder – this one the brutal execution of a well-known Glasgow drug dealer – she finds herself pulled into a complex case involving vulnerable people and a sinister service that offers them and their loved ones a ‘release’. Detective Superintendent William Lorimer is called in to help DC Wilson investigate and as the body count rises, the pair soon realise that this case is about to get more personal than either of them could have imagined . . .
This is the thirteenth book in Alex Gray’s William Lorimer series and is the first that I have read. Although Lorimer is the series’ primary character, this book focuses on newly appointed Detective Constable Kirsty Wilson. Her father is a well-respected DI who is about to retire and Kirsty is initially paired with troubled DS Len Murdoch – who has a gambling addiction and a wife suffering from MS – as her mentor. The mystery surrounds a secret organisation provided assisted death to terminally ill patients for money. The mystery is well-plotted, but there is little depth to the characters and the lead, Lorimer, is somewhat lacking in charisma. The story, whilst familiar procedural fare, is never dull and is crafted by a writer comfortable in her game.
THE HIGHWAYMAN by CRAIG JOHNSON (2016, Viking, 194pp) ∗∗∗½
Blurb: When Wyoming highway patrolman Rosey Wayman is transferred to the beautiful and imposing landscape of the Wind River Canyon, an area the troopers refer to as no-man’s-land because of the lack of radio communication, she starts receiving officer needs assistance calls. The problem? They’re coming from Bobby Womack, a legendary Arapaho patrolman who met a fiery death in the canyon almost a half-century ago. With an investigation that spans this world and the next, Sheriff Walt Longmire and Henry Standing Bear take on a case that pits them against a legend: The Highwayman.
Craig Johnson continues his output of Sheriff Walt Longmire mysteries – which has now stretched to twelve novels, two novellas and a collection of short stories – with this enjoyable novella. The “ghost story” elements give the story an sense of fun and mystery – although the mystery itself is straight-forward and doesn’t really produce any surprises and the scenario is never comedic. This is more about Johnson having fun with his characters with Walt supported by his long-time friend Henry Standing Bear. Their interplay is as witty and affectionate as ever. Whilst the book is never much more than a mild diversion until the next novel, An Obvious Fact published later the same year, it will satisfy fans of Johnson’s writing and characters.
RATHER BE THE DEVIL by IAN RANKIN (2016, Orion, 310pp) ∗∗∗½
Blurb: For John Rebus, forty years may have passed, but the death of beautiful, promiscuous Maria Turquand still preys on his mind. Murdered in her hotel room on the night a famous rock star and his entourage were staying there, Maria’s killer has never been found. Meanwhile, the dark heart of Edinburgh remains up for grabs. A young pretender, Darryl Christie, may have staked his claim, but a vicious attack leaves him weakened and vulnerable, and an inquiry into a major money laundering scheme threatens his position. Has old-time crime boss Big Ger Cafferty really given up the ghost, or is he biding his time until Edinburgh is once more ripe for the picking?
Rankin’s twenty-first Rebus novel is an entertaining read and one that shows Rankin is extremely comfortable with his characters. In this one the plot is fairly ordinary based around two cases that weave into one. Rebus is now long-retired, but investigating an old case and still sparring with gangster Big Ger Cafferty. The interplay between the main characters is what works best in this book. Rankin otherwise plays to more conventional crime fiction tropes and as such the book feels closer to his earlier work than his later, more complex novels. Siobhan Clarke and Malcolm Fox are on-board as is Cafferty’s challenger for the control of the Edinburgh crime scene – Darryl Christie. The book continues the gangland arc from Even Dogs in the Wild and sees it through to a satisfying conclusion, that sets up the series for the future. Rebus himself, is coming to terms with growing old and bronchial problems. He has, however, lost none of his acerbic wit and doggedness. Seeing him work with, but outside of, the police has given the series a new lease of life.
HIGH PLAINS DRIFTER by ERNEST TIDYMAN (1973, Corgi, 150pp) ∗∗∗
Blurb: They whipped the last sheriff to death in the middle of the Main Street. Now a year of breaking rocks had made them hungry for revenge on the whole town. But first they had to deal with the stranger, a man with a lot of lean lightning on his hip – and a gut-urge to use it!
In the 1960s and 70s, before the advent of home video, paperback novelisations were the only way you could revisit a movie without waiting 5 years for a TV premiere or a re-release. They pretty much faded away once movies became readily available, firstly through the rental market and ultimately through retail. Tidyman’s High Plains Drifter is a solid example of how a novelisation could flesh out a screenplay, but could not always recapture the elements that made a movie special.
The novelisation of Tidyman’s screenplay for Clint Eastwood’s Western was published in May 1973 – a month after the release of the film. Tidyman had written the original screenplay during the early summer of 1972 and assigned Phillip Rock (uncredited here) to adapt the screenplay into a novel manuscript, which Tidyman would then edit. The book, therefore stays very close to Tidyman’s original draft. Eastwood saw the opportunity to add some mystical elements – suggesting the stranger was a re-incarnation of the murdered town marshal. Dean Reisner had been hired to add these elements into a final draft screenplay – although Tidyman retained sole credit on screen following a WGA ruling. It is these additional elements and Eastwood’s persona that made the film stand out from other westerns. The novel is, therefore, a much more straight forward tale. Most of the elements of Tidyman’s screenplay were used in the final version of the film, but in the novel there is no real suggestion of a link between the stranger and the marshal. The reader is left to ponder on the stranger’s motives. As a result, the novel – though well written and never less than engaging – does not stand out from the crowd in the same way as the movie.
Note: Phillip Rock wrote the novelisation of Eastwood’s Dirty Harry in 1971.
BIG BUCKS: THE TRUE, OUTRAGEOUS STORY OF THE PLYMOUTH MAIL ROBBERY AND HOW THEY GOT AWAY WITH IT by ERNEST TIDYMAN (W. W. Norton & Company, 1982, 317pp) ∗∗∗∗
Blurb: They came out of the mist on a Cape Cod highway one rainy August evening to write a chapter in the history of spectacular American crimes. They stole more money – over $1.5 million in cash – than anyone had ever stolen. Although three suspects went to trial for the robbery, the charges were dismissed, and the case of the Plymouth Mail Robbery has never been solved.
Tidyman’s telling of the Plymouth Mail Robbery is the book equivalent of the docu-drama. The result is a fascinating and in-depth realisation of the masterminding of one of the greatest heists ever. Tidyman largely presents the story as if it were a novel and this gives depth to the main protagonists on both sides of the law. The gang’s ring leader – here given the name Dan Murphy – is presented as a meticulous organiser of criminal activity. He works with a small group he trusts, which keeps his plans tight. he evades the law through his ingenuity right to the end. The book would have made for a great film adaptation – and indeed the author had prepared a screenplay co-written with his wife, Chris Clark-Tidyman in 1983 – but the story is yet to be filmed. This was to be Tidyman’s final book – he died two years later.