Monday, February 16, 2015

Mugged In Manhattan Blues

A few years ago, quite a few years ago in fact, I was mugged in Times Square, in New York, one of my favourite cities in the world.

I mean in hindsight I was an ideal target for the muggers. I’d been in NYC on business on a budget air-ticket and so I would cram all my meetings into a few mid-week days and then pretty much spend the entire Saturday in the cinema.

So, mid-afternoon I dandered out into Times Square’s hazy day-light, my mind clearly still in the themes of the previous movie. I was wandering aimlessly along the street with 20 or 30 minutes to kill before my next film.   

To be honest I hadn’t even realised that I’d walked into a makeshift tunnel, which had been created by scaffolding spindling overhead, up the block-size building. There were wooden planks (acting as a workmen’s walk-way) above me, while to my left there were side barriers, solid to shoulder height (and protecting the pedestrians from the nearby screeching and screaming traffic) and, on the right hand side, the building itself secured the tunnel not only from the outside in but from the inside out, that is to say successfully trapping victims in the rat-run.

Anyway I was vaguely aware that there were several other humans in the darkened corridor with me. I did notice one particular lad (mid-20s, Caucasian and slim) several feet ahead of me, because he appeared to keep looking back in my direction. I was aware of this but certainly not preoccupied by it.

Then a string of things happened and although they all appeared to happen in slow motion I was helpless, as in being unable to protect myself in any way whatsoever.

The guy who had been looking back at me, let’s call him Noel (as in the first), made a speedy dash away from me to his end of the tunnel. I later realised he did so, not to confuse me as I originally thought, but, to secure his end of the corridor from any pedestrians entering the tunnel from his end.

Three of his colleagues immediately rushed at me, all mid-20s, and one of them violently shoved me against the building side of the corridor. The same one steadied me and jammed his arm against my throat, thereby pinning me to the building, while his two colleagues piled in as well. One of them kept looking all around him, his head darting this way and that just like a chicken desperately searching for slim pickings on a stony farmyard. The other assailant quite literally ripped my pocket from my trousers and the contents - my rather meagre stash of dollars and cents - dribbled out into his greedy hands. The Ripper and the Chicken then speed off towards Noel, while Mugger himself, pulled me away from the wall and then heaved me back towards the wall with such force, perhaps some of the force  even due to his frustration at their miserable takings, that I was severely winded and I collapsed in a heap on the sidewalk.

Next a very strange thing happens. A man came up to me and helped me up from the ground. He said, “I’m Clyde, you’ve just been mugged but you’re okay.” He dusted me down, examined my torn pocket. Clyde instructed me to stay where I was and advised me that he was going chase after the mugger to get my money back for me.

He dashed off at a speed of knots after Noel, Ripper, Mugger and Chicken.

By which time other people, a crowd even, seem to have materialised from nowhere. They gathered around me and they too were concerned about my well-being. One of them pointed out that the Lone Ranger, a.k.a Clyde, who had helped me up from the ground and rushed off to rescue my dollars and cents was also, in fact, one of the gang. He had been stopping people behind me from entering the tunnel thereby protecting his fellow Caucasian gang members from the crowd.

Clyde apparently was a wolf in sheep’s clothing. As well as being the rear guard, his job was to slow me down, disarm me with his friendliness, ensuring I didn’t chase off after the gang and even if I had felt compelled to do so (but please believe me, nothing,  but absolutely nothing, was furthest from my mind) he’d given his mates a good head start.

I headed back to the hotel still very shaky on my feet, feeling very sorry for myself and realising I was on the edge of tears. You see the thing is, you really just don’t know how you should feel or how you are meant to react. Obviously being a stranger in a strange land didn’t help my predicament. By the time I reached the hotel I was still unable to shake the feeling. All the time wondering if there had been a chance I quite possibly may not have made it through the tunnel of terror.

Ray Davies was mugged in New Orleans and when the mugger made off with his girl-friend’s purse, Ray gave chase and was shot in the leg for his gallantry. Nick Lowe was mugged in Spain once and Tanita Tikaram was mugged at the foot of the Spanish steps in Rome. I and several record company staff and band mates were with her at the time and again the attack was carried out by a well organised team; this time several young girls rushed her, begging and lifting their own skirts to hide the fact that one of them was empting Tanita’s purse, her actions camouflaged by their skirts and amplified by the shock effect of them not wearing under-garments. Again a well organised heist, only this time the profits were going straight to their organiser or maybe even pimp.

They all clearly were also traumatised by the incidents and, as I say, I was maybe trying to hide my feelings by being preoccupied about not knowing how to feel.

I remember I was meant to join Loudon Wainwright III and Suzzy Roche for dinner that night and I rang them up to tell them what had happened and that I’d like to take a rain check on the meal, saying I didn’t feel up to it. They wouldn’t hear tell of me cancelling and of course they were correct. A night out with good friends was all I needed to see that absolutely everything wasn’t really bad with the world, you know, that the company of good friends would be the perfect cure for those Mugged in Manhattan Blues.


And this time I read:


Mary, Mary & JFK  by Michael Pincot – even Camelot needed a scribe and the fact/fiction approach is very interesting.

The Good Son by Christopher Anderson

Another Side of Bob Dylan by Victor Maymudes  - or at least taken from his tapes after he’d passed.

Sound Man by Glynn Johns – master engineer, worked with the likes of The Beatles, The Rolling Stones, Led Zeppelin, The Eagles, Eric Clapton and the Who and he is too much of a gentleman to tell tales out of school but yet still manages to come up with a fascinating  account of his own career.

The Time of My Life by Bill Medley – I love the books where you’re given the inside track on how the legendary songs came to life and this one doesn’t disappoint.

Dreamweaver by Gary Wright – I was a big fan of Spooky Tooth, so again a great trip for me.

Stiff by Mary Roach – interesting read, you’re never know when you’re going to need some background.

Live at The Fillmore East & West; West by John Glatt – superb account of the three years the Fillmores were in operation and the rise and slip of Bill Graham and Janis Joplin, The Grateful Dead, The Jefferson Airplane, Allman Brothers, Santana, grass, cocaine, heroin and (to a lesser degree) The Doors, Hendrix, Led Zeppelin, The Who, Cream and Creedence Clearwater Revival. He really does take you back to that time and place in painstaking, not to mention revealing, detail. The history of Fillmore (East & West) and the above artists and drugs connection with them have now been properly documented; look no further for a reference book. This is truly a brilliant work, not to mention a major achievement.

Practice To Deceive by Ann Rule – once again it chills me to the bone to see how close some killers come to getting away with their crimes.

The Wrecking Crew by Kent Hartman – again a first class account of the ever changing group of the cream of LA session musicians and their work all the way from being Phil Spector’s house band for his wall of sound, to the Beach Boys (on record) and everywhere in between and how the records came to be. The author shares the inside track on You’ve Lost That Lovin’ Feeling, McArthur Park and Pet Sounds. I read it in a single spellbound session!

Ode To Billy Joe by Tara Murtha (Part of the 33 1/3 series of books on classic albums) So much missing both on the artist and on the music; that would be the book I'd look forward to.

Superman Comes to the Supermarket by Norman Mailer – a major including, the original pro-Kennedy, Esquire article by Norman Mailer and a collection of stunning on-the-campaign-trail photos.

JFK -  The Smoking Gun by Colin McLaren – a true revelation. You know I felt a great weight lift from my shoulders as Mr McLaren quite logically, reasonably and without a great deal of fuss or pomp solved the mystery, which has been continuously, not to mention seriously, troubling me since 22/11/63. Approximately a couple of hundred books later on the subject, I happened upon JFK – The Smoking Gun (the clue really is in the title). I followed his research and proof in this major work and I completely agree with his solution. (For me) the greatest mystery in the world has finally been solved! But you know what the sad thing is? I woke up the following morning and the world is still the same, nothing had changed. 

And listened to:


Bill Handle on Law - on KFI 640 FM) – top, top presenter… works without a safety net and is very entertaining.

Breakfast with the Beatles - on KLOS – a weekly (Sunday) treat.


And watched on the small screen:


Final series of Parenthood – classic – brilliantly resolved, but so much  more… at the same time it should be taken as a family as a work in progress.

Whitney – a very sad story, still so sad.

Newsroom – perfect TV.

The Dave Clark Five and Beyond –  there’s a great book there if any investigative journalist ever get down to writing it.

Bosch – 10 outta 10 and congratulations to all concerned on being able to make a brilliant series of books into an equally brilliant TV series (not always the case).


And watched on the large Screen:

The American Sniper – twice – a modern classic, whose 30,000,000 tickets at the box office far out balances the 6000 Oscar voters.


Miss Julie

The Penguins of Madagascar

Big Hero 6

Night Stalker – great movie loved it.

Horrible Bosses 2


Theory of Everything – excellent.

Black or White

Birdman (twice) worth going to see twice if only to witness Michael Keaton and Edward Norton exciting performances.

St Vincent – excellent.


The Imitation Game – excellent.


Whiplash - excellent but I’m a bit disappointed that Miles Teller’s performance seems to have been overlooked.

Inherent Vice

Top Five

Hobbit Five Armies

Night at The Museum 3.

The Gambler

Unbroken – unfinished; the book (and the life of Louis Zamerini) was so much more than the torture the movie focused on.

The Interview – marketing campaign if the year.

Citizen Four



It Was a Really Violent Year

Life Itself

Big Eyes

Taken 3


Still Alice – surely Ms Moore’s Oscar winning performance.

Two Days One Night

The Boy Next Door



The Humbling


And finally I witnessed The Waterboys, in all their powerful glory performing their new, amazing, Top 10 album, Modern Blues, at The Roundhouse London.


Until the next time…


Cheers pc



Wednesday, October 8, 2014

How McCusker found himself investigating a murder down on Leafy Cyprus Avenue

My first trip to Belfast would have been when I was about six years old. My dad took me down on the bus. I’d never been in a city before and I just loved the buzz and the unique aromas of the city. Coming from a small rural village I couldn’t believe the actual volume of the noise around and about the streets. In my home town, Magherafelt, if someone sneezed up the town it was news in the following week’s edition of The Mid Ulster Mail, and, most likely on the front page at that.

My memories of that precious trip to Belfast are of streets crammed with exotic cars; lorries packed so high you felt they might actually topple over; my first ever sighting of a double-decker bus; the same streets absolutely bursting with busy and hyper people mostly laughing and joking; chilled people gilding along the footpaths and, the hustle and bustle of Woolworths, crammed so full you could hardly move through it. The shop assistants appeared so sophisticated with their chic make-up so expertly applied they looked just like movie stars. But packed though Woolworths was, my dad worked his way around the super-shop diligently buying hardware: hinges; brackets; nails; thingamabobs and cuttermegigs, lots of cuttermegigs. Things, which on paper he’d no need for, but then over the course of the next few years bit by bit, item by item, they’d all get used up and used in a manner that was always vital to making pieces of furniture and suchlike that had such a positive impact on our lives we invariably found ourselves wondering how exactly we’d ever managed to do without them. In a way I suppose that’s where I picked up the habit of hoarding; yes hoarding things like: locations; words; character-sketches; accents; traits and sayings. You just never know when they’re going to come in handy, do you?

The memories of that day, both of my introduction to the tangible excitement of Belfast and of being there with my father, have stuck with me so far through my life, and very vividly at that.

I have to admit I was up in Magherafelt while the Beatles were on stage at the Ritz Cinema on 8th November 1963. I would have been sitting down to tea with my family when they would have appeared on BBC TV at 18.10 and UTV at 18.30. Playwright Alun Own was in Belfast observing John, Paul, George, Ringo, Mal and Neil and the fans very closely that night for a screenplay he was working on. We have to assume he would have been inspired with both band and fans and worked some of the ideas from his Belfast research into scenes for the final script of A Hard Day’s Night.

Since those early days Belfast has always been close to my heart. There has always been something mystical about the city for me. I will admit I don’t really know why. Possibly it might have something to do with the fact that the grand city was home to George Best, Van Morrison and Alex Higgins, a trio of geniuses so talented in their chosen field that - although while all three were most certainly outstanding in their fields, sadly the fields were empty bar themselves - the world has just never been big enough for them.

Following my trip with my dad my next memories of Belfast are of visiting the city in my teenage years seeking bookings for my first group, the Blues by Five. It would have been on some of those adventures I would have been lucky enough to see and hear Taste, The Interns, Cheese, The Gentry, Sam Mahood and The Soul Foundation (Sam was way, way ahead of his time) and The Method, in places the likes of The Maritime Club, Sammy Huston’s Jazz Club, Betty Staffs, and Clarks Dance Studio. Sadly I never got to witness a live performance by Them but I did witness one of the best gigs I’ve ever attended one Saturday afternoon when The Interns played at Them’s old stomping ground, The Maritime Club. We - The Blues by Five & manager - had a group trip down into Belfast on 23rd July 1967 to witness the Small Faces do an absolutely blistering set at the Floral Hall. There were also a couple Northern Irish bands on the bill that night - I seem to remember The Interns being one of them, but I couldn’t swear to that. The Pink Floyd also played at the Floral Hall in April the same year but for some reason or other we didn’t make it down to Belfast for that show, catching them instead up at the Flamingo in Ballymena.

Later again came The Pound, Good Vibrations, The Ulster Hall, Fruupp and EMS at Queen’s Student’s Union.

Even when I moved to London in 1967 I still retained my strong links and connection with Belfast. I became the “London Correspondent” for all pop/contemporary/progressive music for City Week, a Belfast newspaper, which eventually morphed into Thursday Magazine. But more about that later. 

During the Troubles, while living in London, I booked all the music acts into Queens University (and the Irish University circuit) and it was during that period I got to know the Queens campus area of Belfast very well working with Queen’s ace social secretaries, Gary Mills, Tim Nicholson, Roy Dickson, Allister McDowell, Brian Gryzmek and John McGrath while we persuaded people as diverse as Chuck Berry, The Stranglers, The Clash, Loudon Wainwright III, Stackridge, Mike Nesbitt, Elvis Costello & The Attractions, The Clash, Dire Straits, Eric Clapton and Elton John to visit while boasting, truthfully, that they’d get the best reception of their lives while on a Belfast stage. Conversely, but we never admitted this in advance, should the said act, shall we say, not be at the top of their game performance wise… well then, there were few other stages, excepting Glasgow of course, where they’d wish to be caught out, as it were. In the interest of full disclosure all the above mentioned artists enjoyed rapturous receptions while in Belfast.

In my City Week/Thursday Magazine days, as I said, I covered the London music scene with a special emphasis on the Irish/Ulster acts doing well in the UK. I went to see Herbie Armstrong and Rod Demick (aka Demick & Armstrong - an act from Ulster formed out of the ashes of The Wheels) performing at the Lyceum Ballroom in the Strand in London. During the course of the evening they performed a song called Friday’s Child which Herbie introduced as a song written by his mate Van Morrison. In my following week’s City Week column I mentioned the show and particularly the song Friday’s Child. I’d never heard it before and couldn’t find a recorded version of it. I asked “if anyone out there” knew where I could find a copy. A few days after that week’s paper was published an envelope addressed to me was dropped off at the City Week office in Pottingers Entry. In the envelope was a mint copy of a single on the Major Minor label. The A side of the 1967 single (D410) was a re-release of Gloria (the original B side of Them’s hit, Baby Please Don’t Go) and on the B-side … yep, you guess it, Friday’s Child. Also in the envelope was a very nice and gracious note from a Mrs Violet Morrison, none other than the mother of Van and a fine singer herself. The only reason I mention this here is due to the fact that when I’m walking about the streets of Belfast the song which most frequently comes to mind is the very same Friday’s Child. 

You don’t really get to know a city until you’ve walked it. Recently I had reason to spend a few weeks in Belfast; I probably wore out a pair of shoes in those couple of weeks. In Down On Cyprus Avenue the main character, McCusker, likes to walk absolutely everywhere. Lucky for him Belfast is an extremely walkable city. He loves to ramble about the city being seriously distracted by the incredible historical and dramatic buildings. Buildings like the City Hall where, during my research for Down On Cyprus Avenue, I was allowed to spend several hours investigating it from the inside.  As I checked out the breath-taking beautiful building I couldn’t help thinking that the City Hall was so big, one could quite possibly fit all of Magherafelt into it. Well, at the very least, all of the Magherafelt I had left in the 1960s.    

But back to McCusker.

McCusker had a cameo appearance in the Christy Kennedy 2002 mystery, I’ve Heard the Banshee Sing (as did Inspector Starrett.) I liked McCusker. I liked the way his mind worked. He’s is fearless of the investigation, he doesn’t see it as a chore. He’s not jaded and is genuinely excited about leaving his paper-pushing days of the RUC behind him in favour of front line investigating as an agency cop. He is driven not as much by apprehending the guilty as by protecting the innocent.  He was (and is) a real pleasure to work with. But I couldn’t see a way of making it work in Portrush as I was already covering the rural setting with The Inspector Starrett series set in Donegal and the Castlemartin novels set in Mid Ulster. Time passed, as it has a habit of doing, I kept thinking about McCusker and the more I visited Belfast for concerts and book events the more I wanted to write about the city. So then I started to think about how it might be possible to set a McCusker mystery in Belfast and in that thought McCusker’s back story was born.

McCusker was a detective inspector stationed in Portrush. He dabbled at playing golf, more for the social opportunities than for the sport. He and his wife, Anna Stringer (McCusker always refers to her by her maiden name) successfully accumulated several properties which they (well Anna really) rented out. The idea was on McCusker’s retirement they would sell their property portfolio and retire on the proceeds. When the Patten Agreement offered a handsome payment for those willing to take early retirement during the transition from the RUC to the PSNI, McCusker bit their hand off. He was happy to give up what had become more of a paper-pushing chore than the art of detecting he’d originally joined up for. Anna Stringer perhaps fearing becoming a golf widow, (perhaps not, we never get to hear her side of the story in the first mystery) quiet and subtle as you like, sold off all the properties and disappeared with the aforementioned nest egg. The Patten payment was clearly not enough to last McCusker the remainder of his days. The only thing McCusker knows how to do, the only thing he wants to do, is detect. The Patten Agreement forbids retired officers from being reinstated but Grafton’s Agency (Belfast’s answer to USA’s Pinkerton Agency) took him on as a temp-agency cop (nickname Yellow Tops after the inferior in-house supermarket brands) and found him employment with the PSNI in the Custom House, Belfast. The PSNI aren’t actually stationed at the Custom House but I thought it ideal for McCusker’s team. I did get to spend a few hours in there and it really is an amazing building with an incredible history.

One of the original ideas for the McCusker Mysteries (hopefully plural) was to have D.S. Willie John Barr (no ‘e’) as McCusker’s side-kick, as was the case in the two McCusker short stories, Based On A True Story (included in this year’s Mammoth Book of Best British Crime - No. 11) and the Case of The Humming Bee. However when I came to start work on Down On Cyprus Avenue I had to deal with the fact that McCusker would have to be a Yellow Top and as such would have no real authority or seniority in the PSNI structure. So I introduced D.I. Lily O’Carroll who arrived on the page fully formed and who consequently quite literally forced her way into the partnership. Barr is still around though in what is also becoming a very important role.  

The Case of The Humming Bees brings us back nicely to McCusker’s preoccupation with the beautiful and historic buildings in Belfast in that it is entirely set in The Ulster Hall. The Ulster Hall was built in 1859 and designed by William J. Barre (with an ‘e’ this time.) The Ulster Hall is the hallowed concert hall we all visited to be in the presence of the greatness that was Rory Gallagher. Rory played there on numerous occasions either with Taste or, later, with his own band. A Donegal born, Cork bred man who also spent a lot of time soaking up the Belfast vibe and giving it all back to the audiences in spades at a time when few artists were visiting Belfast. The photos (but not the music) on the Live Taste album are from the Ulster Hall. The album was in fact recorded in Montreux Casino, Switzerland on the 31st August 1970. The album was released on Polydor on 1st January 1971 with my (short) sleeve notes. Sixty-four days later on Friday 5th March 1971 Led Zeppelin took to the stage in the Ulster Hall, Belfast and performed for the first time in the world a new song by the name of Stairway To Heaven.

In 2014 McCusker reckons that he and Belfast were starting over again at the same time. They both reached a good point in their life cycle and both seemed very happy to be doing so. McCusker for his part is thrilled to be getting to know the city; getting to know it in this era.

I have my father, Andrew, to thank for introducing me to Belfast. McCusker (indirectly) has Anna Stringer to thank. Yes he still has things/issues he needs to address and resolve but he frequently reminds himself about what he’d committed himself to when he left Portrush. He’d promised himself that he would forget the past, ignore the future, and get lost in the present.

Talking about the present I’d like to thank the Dufour fab four for producing such a handsome volume of Down On Cyprus Avenue and getting it out there into the world (November 2014.) I’m continuously humbled by this entire magical process.
This time I've been listening a lot to Leonard Cohen's beautiful new album, Popular Problems.  To my ears a true classic and the best album of the year so far by a country mile.

Until the next time,





Tuesday, April 1, 2014

An Adventure of a Retreating Crown a.k.a., Hats

      The time I started to grow conscious of caps (or hats) would have been during my pre-teens when my mum knit my dad and me a bobble hat each. Mine, by request, had blue and black hoops and my dad’s had red and black and they both, obviously, had bobbles on the crown. I had my mum remove mine. I thought my tassel was just a bit too loud. It’s a thing I’ve always had about clothes; I just don’t like them to be loud.
      Don’t get me wrong, I love people who can wear loud clothes and get away with it. I’m just not one of them. I remember I’d been bought a pair of sandals and they were so spanking new, the sole was snow white and, to me, they looked too much like new sandals, so I had my dad put brown boot polish on the white edges to the soles, just so they'd be ‘quieter,’ not so loud and would allow me to sink into the background. I was about six or seven at the time and I often wonder why I would think that way. I mean I haven’t changed a bit really. As an adult I’ve bought clothes and left them in my wardrobe, sometimes even for a couple of years, just so they would age and I’d feel more comfortable wearing them. I recall going to the Royal Albert Hall in London, my favourite venue in the world, for a concert and I remember John Peel was the compere and he had a buckskin, fringed-jacket - as favoured by Native Americans in the movies - draped over his arm. He just wanted to show it to us, the audience. He explained that he hadn’t plucked up the courage to start to wear it, “just yet.” I seem to remember that he brought the said jacket to several concerts, every time unworn, he clearly just wanted us to see that he was still trying to pluck up courage to wear it. So it was comforting to know I wasn't alone.

      But let's get back to the hats. The trouble is finding a hat that suits. Elvis Costello for instance looks absolutely fab in every style of hat. Me, well, not as much, well… not at all really. I do however have to play to the tune of my needs, but we’ll get to that later.

      So how do we start off on this great hat wearing adventure? Well, most likely through being influenced by our fathers, through fashion or by necessity.        
      Following my initial few months with the bobble hat my mum knit for me, I would have gone hatless for a good few years. Then in my early teenage years I would have sheltered under the hood of my trusted, and treasured, duffle-coat. It wouldn’t have been as warm as a hat or a cap – it was a bit of a wind trap really and only helped to compound the bluing of the ears.

      My big movement into hats and caps coincidently seemed to happen around two important points. One, the modern day popularity, not to mention preoccupation, with baseball caps, aka Trucker Cap, and, two, my physical need to shelter my head.

      I’d worn baseball caps for ages but I could never find the perfect model, for me. I mean, I would frequently see great models on TV or in the movies, but the ones that were available to purchase would either be too flat, too tall on the crown, a bad fit, or made from transparently synthetic material. But all the time I was going through the search process, I was gradually finding the need to wear some kind of covering on my head. In the winter I would need a hat, some item to cover the head, with its ever receding hairline, to stop it from getting cold. In the summer I’d need it to stop my crown getting burnt by the sun.

      Then I found a Magic Johnston baseball cap which was all but perfect. It was the correct shape; the crown wasn’t too high; neither was it too low; the logo was subtle; the material was good, classy looking and, it was the perfect fit. In fact the MJ cap was so perfect, so cool, that lots of people, and I do mean lots, started to ask me where I’d purchased it. A few were so impressed they even went as far as seeing if they could buy mine from me. Fewer still offered me not unsubstantial amounts of money for my prized possession, thereby, in a way, putting a price on my head. All of which only served to defeat the object of the exercise, which had been to try to find items of clothing which would be comfortable, but would not draw attention. The Michael Johnston cap, as I have already mentioned was, “all but perfect.” Its only two flaws? One: it was snow-white and white hats do tend to… well go off-white through wear and tear and eventually can become grubby. Two: by the time I went seeking a replacement I discovered they’d discontinued my particular model. Maybe I’d been giving the elevated MJ bad press, or uncool attention, by wearing non-stop, an item he’d endorsed.

      Don’t you just hate it when that happens?

      You know, after searching for years, you eventually find an item of clothing you are totally comfortable with, and then, because it works for you so well, you eventually wear it out, (not as in wearing it outside, but as in wearing it until it literally falls to pieces around you) only to find it’s no longer an item of clothing you can buy, even on the internet. Recently though when I find something I like, if through wearing it I find I really, really, like it - like say for instance, a pair of shoes, or a jacket even, you know, something I’m really comfortable with - I’ll go back and try, if I’m not too late and they’re already sold out, and buy an extra back-up identical item, just in case.

      During my base-ball cap period, the two things I discovered about them were that you (obviously) couldn’t wear them everywhere. For example, it would be a bit unseemly to wear a baseball cap at a funeral, or to a formal black tie event, or similar, don’t you think? They certainly weren’t appropriate, so on those occasions you’d either have to risk getting cold by going bare-headed, or revert to a standby black cloth cap in the style favoured by my father during my childhood – even he set my mother’s woollen black and red hooped bobble aside following a discreet passage of time. The other great thing about the traditional cloth cap is that you can fold it and put it in your pocket. This would always come in handy at the above events. I did toy for a brief time with trying to find a suitable cloth cap, as an everyday item of clothing, even tried the one you wear backwards with the wee kangaroo logo on it, but I never really felt either was for me.                

      The other thing I discovered about baseball caps was that, when you really got down to it, they are a young person’s fashion accessory. Eventually I start to think that it was beginning to look a tad unbecoming for a person of my age to be living permanently under the peak of a baseball cap and so, reluctantly at first, I started to look for a replacement.

      Now with hats there really is such a multitude of choices out there: the traditional English business man’s Bowler Hat, aka a Derby Hat; the cheeky Pork Pie Hat; the wet-weather Sou’westers - talking of which I’ve just remembered a photograph of myself, all of four years old and kitted out in my wellies, raincoat and Sou’wester, this would obviously have predated the woollen bobble hat, my mum knit for me, but I have no consciousness of it, only the fleeting memory of that photograph in my mother collection; the Boater; the exotic Panama; the Beanie or the very similar you-too Toboggan Cap;  the race track, Trilby; the not exclusively French, Beret; the anyone for yodelling, Tyrolean Hat; the anyone for tennis Sunvisor, aka the Eyeshade; the anyone for playing scary monsters, Homburg Hat; the Top Hat, now mostly seen only on door men in posh hotels; Sherlock Holmes’ favourite, the Deerstalker; the Leopardskin Pillbox Hat, which was very visually included in a Dylan lyric, allegedly after he witnessed Jackie Kennedy wearing said fashion accessory; the impractical Brakeman’s Cap; the expensive Poor Boy’s Cap; the Cricket Cap, aka Schoolboy’s Cap, the same style that one would receive as a commemorative model, should one ever be lucky enough to play football for one’s country and be ‘capped’; the happily near extinct, Gatsby Cap, also known as the Newsboy Cap; Tommy Cooper’s favourite, the Fez; the conical, that’s not comical, but conical, Nòn Lá; the brain-boiling, Cossack Hat; the dual purpose Ushanka; a Skipper’s Cap, as popularised mid-sixties by a very young Bob Dylan and aped shortly thereafter by The Beatles' John Lennon; an Airman’s Leather Hat, with or without goggles; a Brakeman’s Hat; a Stetson Cowboy Hat, which was also handy for fetching water to your horse, hence the Ten Gallon Hat nickname; the Truckers Cap, aka the aforementioned baseball hat and, last but not least, H the classy Fedora Hat.

      I’ve always been a fan of the Fedora, the hat recently re-popularised by Leonard Cohen. I’d never been able to work up the courage to try one though. So I experimented a wee bit with that style for a while. Once again I went through the process of discovering that some were too high; too low; too tight; had too narrow a brim; had too wide a brim; too hot in the summer or even too cold in the winter. The major problem I had with them thought was that sometimes, just sometimes mind you, they looked fine from the front, but from the side they can look like someone had plopped a miniature armchair upside down on your head. My experiments led me to discover that it was better to have different models for summer and winter. In the summer it’s best to favour the lighter “straw” and consequently naturally aired version of Mr Cohen’s preference, while in the winter I settled on the traditional heavier version. Again you’ll really only get one summer out of alternating two “straw” fedoras, whereas the solid felt, winter model - but again it’s good to alternate a couple - will last you a good few winters if you take good care of them.

      Recently I’ve even discovered what could very easily become my regular winter hat. Again, like all my favourite hats, it’s one that was discovered for me by my wife, Catherine. This particular model is made by Christys’ of London and, as they’ve been around since 1773, I don’t think they’ll be going out of business or discontinuing my favourite model any day soon). It’s called a Travel Trilby, that’s a Travel Trilby, not a Travelling Wilbury. For me, it’s the perfect shape, easy to wear, fits well, with a wee bit, just a wee bit, of a wider brim and is a brown green in colour. It looks like it might be the model favoured by the race track fraternity (but not quite). Another major plus from my point of view is that it’s easily trained into my preferred, most comfortable, shape. However even after all of that, it’s biggest ace-in-one, or USP, and it’s one in the eye to all airport security staff who seem to take great pleasure in giving my hats an extra punch for good measure to make sure they were low enough to go into the X-Ray machines, is that no matter the battering delivered to the Travel Trilby, you can very easily remould it back to your perfect shape in seconds. Christys’ claim you can even roll it up to stuff it in your suitcase and it will spring back into the preferred shape the second it’s been released. I’m just three months into my relationship with my new hat and so I don’t have the confidence or courage to  attempt the rolling–up test with mine just yet, but through time I’m sure…

      I do know it’s been a long search from the bobble-less, bobble hat my mum knit for me (and my dad) all those years ago, but I do have a feeling that, where I rest my (new Christy’s of London) Hat (on my head) will be its home for a long time to come.  

      And now the bit before I go. After finishing work on The Lonesome Heart Is Angry I've been ODing on DVDs mainly the first 4 series of Parenthood - just incredible. Also watched Michael Connelly's Bosch, with Titus Welliver perfect as Harry Bosch. The pilot was 10 outta 10 and the amazing news is it's just been commissioned for a full series! There is a justice in the world after all.   





Monday, February 17, 2014

Oscar, you've got a lot to answer for.

Why do we get so upset when the movie, actor, actress, director, screenwriter we like, don’t win?

Why do we get upset when we hear that Robert Redford is quoted as saying that the reason he didn’t even get nominated for what just might be his career best performance as an actor in All Is Lost, was quite simply due to the lack of cinema screening his film?

How come we get upset when Tom Hanks didn’t get nominated for Best Actor for his performance in Captain Philips because pundits speculate that the Oscar committee don’t want him to win a 3rd Oscar?

How can 6000 odd people (the odd refers to the ‘6000’ and not to, ‘people.’) pick the best movie of the year when they’re clearly biased? Is the reality that it is truly impossible to select the best movie of the year?

Surely audiences, with their feet, reflect a better choice for a potential movie of the year.

If this is the case should the category not be changed from best picture to most popular picture of the year?

Why doesn’t Stephen Fry, flawless at the Baftas, get to compere, the Oscars?

Why do the Sags, Golden Globes, Writers Guild and Directors Guild insist on having different lists for their award ceremonies if they are truly seeking the best performances of the year?

Now that there are so many award ceremonies are we due an award ceremony to nominate and pick the best award ceremony?
Is it a coincidence that the word ceremony ends in mon(e)y?

The answer to all of the above is: I don’t know.

We all have an opinion and it’s important to have an opinion and it might even me more important that we have different opinions. But in this case does it really matter, because it’s all part of this business we call show business.

It’s award season in movie capital of the USA and so all the film companies release their main contenders just prior to this time of the year intent in trying to ensure Harvey Weinstein doesn’t win a clutch of the awards this year again.

I can also tell you that at the exact same time of the year the weather (not to mention the breakfasts) are much better in Santa Monica than they are in either Ramelton or Camden Town so that where Catherine and I go to soak up a bit of the lack of the cold and a lot of the celluloid entertainment.

For what it worth this year this (in my opinion) is the best of the batch movies and (according to my personal opinion) I’ve listed them in the order I’d like to see them for a 2nd time.


Captain Philips


All Is Lost

The Invisible Woman

The Book Thief

Fruitvale Station

August: Ostage County


The Armstrong Lie

Who would I like to see win the Oscars?

Movie: Philomena

Director: Alfonso Cuaron (Gravity)

Screenplay: Spike Jonze (Her)

Actor: Bruce Dern

Support Actor: Bradley Cooper

Actress: Sandra Bullock

Support Actress: Jennifer Lawrence

Animated Movie: Frozen

Original Score: Thomas Newman (Saving Mr Banks)

This leads me to: Hints to cinema chains (including ones in the UK) on how to make more money.

a) Save your budget on self-adverts. We don’t want or need to see them. They’re boring - especially if you go to the cinema a lot - totally unnecessary and a complete waste of money.

b) Spend more money locally marketing your movies. It’s very important you make sure you let people know where the movie is on and the times. This really helps a lot. And do it on the street as well as on the web.

c) Have smaller bags of chocolates/sweets/popcorn on sale at your concessions stand in the long run you’ll sell a lot more. d) Always ensure you have Ben and Gerry’s Chunky Monkey on sale.

e) (exclusively for the UK) drop the adverts you’ll be able to fit in more screenings and do enjoy better box office returns.

f) Try and pause, even just for an extra 10 seconds the credit page at the end of each trailer so we can see who’s involved.

So that’s it for now.

Sorry for the delay between the blogs this time but I’ve been busy proof reading the new novel – THE LONESOME HEART IS ANGRY (Published May 1st) and writing the third Starrett mystery HELLO DARKNESS MY OLD FIEND.

More about both next time.



Friday, May 31, 2013

Apart from sitting on the instrument how does one produce Mandolin Wind?

In January 1971 I made my way by tube, bus and shanks’ mare from the wilds of Wimbledon in South London to Willesden in the London Borough of Brent.
I rarely ventured north of the river in those days.

So the reason for my pioneering adventure into the wasteland of North West London?
To interview a gentleman by the name of Rod Stewart for Thursday Magazine a weekly Belfast music paper I was the “London Correspondent” for in those days.

Rod Stewart was the lead singer with the Faces (nee The Small Faces.) He and his good mate Ronnie Wood joined their favourite band’s line up when Steve Marriot defected to help form the supergroup, Humble Pie, with Peter Frampton, “the face of ‘68”. The Faces recorded for Warner Bros. However Rod had also been signed to Phonogram as a solo artist, which was quite unuusal in those days. Mind you these days it's equally unusual to even have one record deal. 
The Faces were certainly the most fun band on the circuit and Rod’s first solo album - An Old Raincoat Won’t Ever Let You Down - had been very well received as was his second album, Gasoline Alley. Both were excellent albums, favourably reviewed, although neither release troubled the charts.
My journey to Willesden was to visit Rod in Morgan Studios where he was busy working on what would become his third solo album, Every Picture Tells a Story. My previous two attempts to interview Rod had been rescheduled by the ever helpful and patient Carole in the Warner Bros press office. Perhaps she felt if she set up the interview in the studio during the recording he would have nowhere left to hide.
Anyway third time lucky; Rod was there, it was a late night session and everyone seemed to be in great form, perhaps re-creating the party atmosphere Rod and The Faces were famous for.
This would have been one of the first times I would have been in a recording studio. I was totally, as in totally, blown away by the sound of music through the amazing speakers cabinets. I remember thinking that if I (somehow) managed to get those speakers into my bedsit I’d have absolutely no room for any other furniture whatsoever. The magnificent speakers completely transformed the audio experience into another dimension altogether.
The song they were working on while I was present was Maggie May and they were overdubbing the incredible mandolin playing of Ray Jackson, a musician from Lindisfarne. Lindisfarne were a new Tyneside band whose main songwriter Alan Hull, was one of the best emerging UK songwriters of the early seventies.
I seem to remember that Ray Jackson was stick thin and had a massive thatch and beard like Roy Wood (but vividly cooper coloured) and he “nailed it” to quote someone who’d been twiddling knobs on the colossal control desk, “and quite quickly at that.” Then there was a little frivolity, partying if you will, in the recording room while the engineer set up the next track they were going to work on with Ray Jackson.
Rod and I retired to one of the studio’s outer rooms to commence our long delayed interview.  I don’t remember much about the interview apart from the fact that Rod was very together, preoccupied with his hair, down to earth, earnest about his career and extremely easy to talk to.
By the time we returned to the control booth again it appeared that work had ground to a halt and an eerie silence had fallen over the proceedings. Apparently in our absence one of the musicians, while distracted by the partying, had accidently sat upon Ray Jackson’s mandolin and completely demolished it.
The Geordie was being very good about it, putting on a brave face; claiming it was neither a great nor an expensive instrument. He had several in reserve as they were always being broken while he was on the road with Lindisfarne. He even went to the trouble of demonstrating  just how poorly the said instruments were made by pulling the skeleton to pieces and removing bits of yellowing foam cum sponge padding which had been stuffed into the sound holes in order to help with the  acoustics of the pick-up he had added.  
I left them waiting for a new mandolin to be delivered to the studio. They clearly found one because the finished album contained Ray Jackson’s fine picking on the classic Mandolin Wind.
Anyway that album, Every Picture Tells A Story, was released six months later in July 1971.
Maggie May was co-written by Rod Stewart and Martin Quittenton. Quittenton also played acoustic guitar on the sessions; he was a member of the band Steamhammer. The other musicians on the track were: Ray Jackson on Mandolin; Mickey Waller on Drums; Pete Sears on keyboards; Sam Mitchell on slide guitar and of course Rod Stewart on vocals.
In hindsight it’s easy to say that Maggie May was the perfect vehicle for Rod Stewart’s unique story-telling voice. It’s very easy to say it in fact because it’s true, but the aforementioned Maggie May had a very shaky start. It very nearly didn’t have a start at all. The record company didn’t like the track. In fact they soooo didn’t like it they didn’t even want it on the album. They claimed it, “lacked a melody.” They relented only when Rod advised them he didn’t have any other material. The record company confirmed further how little they thought of the track when they deemed it fit to qualify only as the B side of a single with Reason To Believe (a Tim Hardin Song) gaining the A side honours.
But then a DJ in the USA flipped the single and started to play Maggie May. The song received phenomenal reaction from the radio audience and went on to become the A side and not only that but the number one single in both the USA and the UK. And not only that; the single and the album hit the top spot in the charts in the USA and UK simultaneously. An achievement usually only enjoyed by artists such as The Beatles and Simon & Garfunkel.
Mr Stewart was off on his mega career and few have had a better start than he did with his back to back classic (first) three albums.
Then this week just over 40 years later he returned to the acoustic feel of those early albums and the No 1 spot in the UK charts with his new album Time.

And now this time we have a few Top 10s – all Beatle related.  (Guess who has a new Beatle book out? Please see front page web site)


The Top 10 Beatle Tracks

01. Here Comes The Sun

02. Something

03. In My Life

04. Across The Universe

05. While My Guitar Gently Weeps

06. Sgt Pepper’s Lonely Heart’s Club Band

07. I Should Have Known Better

08. If I Fell

09. Hey Jude

10. A Day in The Life


Top 10 Beatles Singles.

01. Something

02. Help

03. Hey Jude

04. I Want To Hold Your Hand

05. She Loves You

05. Day Tripper

07. Please Please Me

08. We Can Work It Out

09. Strawberry Fields Forever

10. Can’t Buy Me Love


The Top 10 Beatles B Sides

01. She’s A Woman

02. Penny Lane

03. I’m Down

04. This Boy

05. Old Brown Shoe

06. Come Together

07. Don’t Let Me Down

08. Things We Said Today

09. Rain

10. Revolution


The Top 10 Beatles.

01. George Harrison

02. John Lennon

03. Ringo Starr

04. Paul McCartney

05. Billy Preston

06. Jeff Lyne

07. Eric Clapton

08. Graham Nash

09. Brian Wilson

10. George Martin

This time as well as working on my new book, THE LONESOME HEART IS ANGRY,

I’ve Seen:

I Give It A Year

Bullet To The Head

Die Hard 3

To The Wonder

Butterfly Dream

Diminished Capacity


Open Road

Robot and Frank?

Friends With Kids

Side Effects

Good Vibrations – Jodi Whitaker stole the honours with her great screen presence and class performance. The other major star was of course Teenage Kicks!


Olympus Has Fallen

The Place Beyond The Pines

Into The Storm

The Look of Love

Ironman III – definitely does what it says on the poster!

Love Is All You Need

Star Trek – Darkness

I’m So Excited

Mud - excellent

Beware of Mr Baker – painfully honest.

Hangover III

And read.

A Prince Among Stones Prince - Rubert Loewenstein

Seven Deadly Sins - David Walsh

The Soundtrack Of My Life - Clive Davies – a brilliant and revealing insight into the workings of a record company.

Talking To Strangers: The Adventures of a Life- Insurance Salesman – Peter Rosengard – some very interesting tales.

And heard

Loudon Wainwright III at Basingstoke Anvil and London Royal Festval Hall. Two great concerts and he gave us an amazing taster of a work in progress theatre show he is working on based upon some of his father’s writings for Time Life magazine.

Eric Clapton @ The Royal Albert Hall - on something like his 180th appearance on this particular stage he's so comfortable it felt like we were all in his living room enjoying a beautiful concert.  

And listened to:

Someday Never Comes by Dawes and John Fogerty from John Fogerty’s collaborations album, Wrote a Song for Everyone. If this track is anything to go by I’d love to hear a Dawes (my current favourite non-Asgard artist, especially live) CD produced by Mr Fogerty. This and the next track - Who’ll Stop the Rain with John Fogerty and Bob Seeger - are definitely guaranteed to send you back to the CCR catalogue.

An Old Raincoat Won’t Ever Let You Down;  Gasoline Alley; Every Picture Tells a Story And (hardly surprisingly)Time, all by Rod Stewart.

I’m Alive by Jackson Browne - the perfect companion for the writing room.  
Until the next time.






Monday, February 4, 2013

Playing a Game of Snooker is a lot Like Writing (or Solving) a Murder Mystery

For some time now I’ve been toying with the idea that writing a murder mystery – such as I’m currently doing with Down On Cyprus Avenue, the first of what I hope will be a new series set in modern day Belfast and featuring McCusker who had a brief cameo in an early DI Christy Kennedy Mystery, called I’ve Heard The Banshee Sing – is a lot like playing a game of snooker.  

Now that thought - playing a game of snooker is a lot like writing or solving a murder mystery - could in fact, be the entire piece, because from there we could go off and think about it and draw our own comparisons and conclusions.

But… the longer version…

In snooker you have two players and a referee, or a judge if you will.

In the murder investigation you also have two opponents; your detective and your prime suspect (who hopefully will turn out to be the murderer). You also have the judge; the law of the land.

As much as you may practice your potting in advance, it will never help you win a particular game because each and every game is different. In order to have at least a chance of winning a game of snooker you have to be able to react to the ever-developing, ever-changing puzzle the game throws up for you.  You hit the first ball, you open up the game in a unique form; your opponent takes their first shot and off you go reacting to each other’s play and the set of individual circumstances each pot (or miss) reveals. Once again the comparisons with writing (or solving) a murder mystery are obvious.

In a game of snooker we have our set of balls: 15 red balls- each worth 1 point; one yellow ball (2 points); green (3 points); brown (4 points): blue (5 points); pink (6 points) and black (7 points).

The red balls in the snooker game are like the clues in the mystery. Just like the red balls in snooker we will keep returning to the clues in the case until, near the end, we will start to dismiss (or pocket) them one by one for the final time.

Then we have the colour balls. In the snooker game and they can be considered to be the suspects in our case. Again we will keep returning to them throughout our game/mystery until one by one they are all dismissed (pocketed) and we have concluded our game or resolved our case.

If we assume that our detective is the white ball then our prime suspect must be the black ball. Talking of which, I think it’s interesting to remember that in the early western movies the good guys always wore the white cowboy hats while the baddies were always, but always, decked out, head to toe, in black.

The ever important snooker cue is the detective’s logic and sharpness of mind. The better the cue and the cueing action the better the chances are of winning the game or solving the mystery.

The cue rest and the various sized cue extensions are like the detective’s team or assistants if you will. I’m referring to the Detective Constables, the Detective Sergeant, the forensic departments etc., etc.

The referee is, as we have inferred, comparable to the judge or the law of the land.

The table is like the detective’s patch (and office) and it’s vitally important that both the snooker player and the detective intimately know the ins, outs, not to mention, imperfections of their table or patch. For instance if the cushion at one position of the snooker table is not true then the ball will not react the way it is expected to. Should the detective not be picking up on the truth as he or she goes about their investigation, then, just like the stray ball described above, our detective will be off on a wild goose chase.

The break in the snooker game is exactly like the run the detective longs for in solving the case. Should the detective have the experience and sharp eyes for clues and he manages to solve the case immediately then that is equivalent to achieving the extremely difficult, and much desired, maximum break.

A snooker occurs in the game/mystery when the prime suspect (the snooker opponent) puts the ball beyond the natural line, whereby it becomes impossible to get a clear shot with the target ball (clue) due to the strength of a good alibi, or, in the case of the snooker game, a first class snooker.

A trick shot occurs when the detective grows a wee bit too confident and sets up an Agatha Christie style trap for his or her prime suspect; a trap which could potentially solve the case or go a long way to winning the game of snooker outright.

One of the main similarities between snooker and murder mysteries would have to be the way in which both the game and the case develop uniquely depending entirely on the natural progression of the game or the amassing of the clues and questioning of suspects. So, as we’ve already mentioned, the snooker players and the detective and prime suspect all depend on their ability to be able to react to each other and the unfolding game/case before them.

And yes snooker players can and do practise as much as they want ahead of a case and detectives can do their research, try for clearness and sharpness of mind and gather their wits about them, but the bottom line is neither snooker player nor detective can ever plan out a case or a snooker game entirely in advance, because once the initial break takes place then both sides are acting and reacting to their opponents.

A bit like real life; well I suppose you’d really have to say it’s a lot like real life.



This time I’ve seen:


Bruce Springsteen & The East Street Band at the Honda Centre, Anaheim.  Now this man really knows how to put on an incredible, exciting, marathon live show. It’s not vital that you see Bruce Springsteen perform in front of an American audience but it does help to understand the degree of his sustained success. He is so audience conscious it’s unbelievable. He spends the entire concert eyeballing every single member of the audience. You get the impression that he knows every member of his audience on a first name basis. This is how it should be: first class sound and lights with an incredible band and artist not just performing the songs but living them as well.

David Lindley at McCabes, Santa Monica – a national treasure, the man who can get a tune out of any stringed instrument playing in the perfect location – the world famous guitar shop.  

Jackson Browne at Keller Auditorium, Portland with an amazing new combo singing his heart out. Perfect set-list, perfect concert. 

And read:


Michael Connolly – The Black Box. I’m a big fan of Michael Connelly I’ve loved all 24 of his books so far and this one is easily up there with his best.


John Grisham – The Racketeer. A great yarn and it’s going to make a great movie.


Rod Stewart – Rod. I was expecting (hoping for) a lot more background stuff from the An Old Raincoat Will Never Let You Down days.


Magnus Flyte – City of Dark Magic.


Greg Smith – Why I Left Goldman Sachs.


Sjowall & Wahloo – Roseanna & The Man Who Went Up In Smoke. By far the best police procedural books I have read since the Colin Dexter Morse stories.


Dick Wolf – The Intercept – Clint Eastwood could turn this into a brilliant film.


Stephen Hunter - The Third Bullet – loved it.


Tommy Mottola – Hitmaker: The Man and His Music – an interesting account of what happened at Black Rock.


And watched:


Luck the TV series.


The Firm TV series.


Felicity TV series 1, 2, 3 & 4. – absolute gems one and all


House – the 8th and final TV series – please see next blog.


The House of Cards (US Version) Excellent five-star production from NetFlix. I wonder will the big American TV stations - CBS, NBC, ABC, Fox, XYZ etc – rue this day as much as the ever dwindling number of major Record Companies rued the day file sharing was first introduced to the internet.


Lincoln – a master class in directing – from Stephen Spielberg - and acting - from Daniel Day Lewis, Tommy Lee Jones and James Spader. Daniel Day Lewis’ performance is just an absolute joy to witness.


Silver Lining Playbook – might be my favourite movie of the year. This film is so good I went to see it twice and enjoyed it even more the second time. There’s genuine on-screen chemistry between the two leads.


Argo – very enjoyable.


Life of Pi – looks amazing.


People Like Us – I loved it.




Anna Karenina – not for me.


A Royal Affair – big surprise, unlike Anna K they got this one spot on.


Cloud Atlas – brave.


The Sessions – brave and successful.


Late Quartet – a different kind of rock and roll.


Addicted To Fame – very sad.


End of the Watch – compulsive viewing and disturbing.


Jack Reacher – effectively does what it says on the tin.


Playing for Keeps – would have been a perfect vehicle for George Clooney in the ER days.


Hitchcock – Anthony Hopkins just doesn’t make bad movies!


The Quartet – shows, perhaps just a wee bit too effectively, where we’re all heading.


Hyde Park and Hudson – loved it especially the performances from Bill Murray and Laura Linney.


Flying Lessons.


Led Zeppelin Celebration. A fine testament to the band’s legacy; amazing sound, perfect performances from one and all and brilliantly captured on film, in fact, if anything, better than being at the gig - the ultimate celebration.


Django Unchained – mixed reaction from my party (of 4) but I loved it and thought it was very funny in a spaghetti Western kind of way.  


West of Memphis – documentary of the year and they weren’t scared to name the name. I find it equally disturbing that a) these crimes are so casually committed and b) that the real offenders always seem to get away with it at the expense of other people’s liberty and c) that local politics get in the way of justice. Same as it always was.


Impossible – brilliant and a true story.


The Hobbit – equally brilliant but (hopefully) not a true story.




The Guilt Trip.


A Dark Truth.


The Last Stand - again you get what you pay for and not a vampire in sight.


The Fitzgerald Family Christmas – Edward Burns taps back into very rich, multi layered stories of second generation Irish American family life.


Save The Date – another slice of American family life this time with the focus on two sisters – a wonderful rewarding film.


Price Check.


Stand Up Guys – well worth the ticket price if only for the Pacino, Arkin and Walken performances.


Trouble With the Curve – there’s never ever any trouble with a Clint Eastwood movie!


Parental Guidance.




Breaking Dawn Part 2 – it would appear even vampires need a family life and long to live happily ever after with their loved ones. It’s just that when happily ever after means forever and a day it’s quite a difficult concept.


The Promised Land – another must-see movie from Matt Damon


The Gangster Squad – a great yarn.


This is 40.




Broken City – worked well for me


Movie 43


The Perks of Being a Wallflower


The Paperboy.


The Top Ten (in a particular order) Breakfasts while on the way to the movies in Santa Monica.


Seventeenth Street Café & Bakery

50s Diner (on Lincoln)

M Street Market *


Shutters On The Beach


Ye Olde Kings Head (ead (Th(English Pub)

Blue Daisy Café

The Omelette Parlour

The Farm Shop, 26th Street.

*Special Mention for best Hash Browns.

^ Technically not in Santa Monica (more Malibu) but on the circuit and well worth the trip because of the view. Famous because certain movie stars (allegedly) used to dine there with their mistresses while staying at the nearby hotel.

And finally, this blog’s official top ten:

The Top 10 Beatle Albums

01. Abbey Road

02. Sgt Pepper’s Lonely Hearts Club Band

03. Revolver

04. Rubber Soul

05. The Beatles (The White Album)

06. A Hard Day’s Night

07. Magical Mystery Tour (US)

08. With The Beatles

09. Help

10. Beatles For Sale (if only for Mr Moonlight)


Until the next time,