Michael – Page 42 – Just Giblets

January 3, 2014

Favorite Books Read in 2013 – #’s 11 & 12

The next two books from my list were from very early in 2013. Jennifer Haigh released a collection of short stories based on characters and locations from one of her earlier novels. Laura Harrington’s debut was popular with libraries, and I read it because she was going to be on an author panel I put together at the Massachusetts Library Association. They turned up at #’s 11 & 12 on my Top 15.

#12 – News from Heaven: The Bakerton Stories by Jennifer Haigh

Not having read Haigh’s Baker Towers, the novel in which the small Pennsylvania town of Bakerton debuted, I wasn’t sure if I’d be missing something when reading this collection of stories about people tired to that tiny, former mining-community. I needn’t have worried, Jennifer Haigh is a writer of consummate skill, drawing me in and giving me just enough information to understand the context while spinning a series of tales that show how important our upbringings and our community roots affect our lives. With stories spanning the 40’s era of war to present day, all the characters in News from Heaven have ties to Bakerton, PA, and each story has subtle ties to the others, truly making the reader a feeling of community among these characters: community across generations. The Baker Family, founders of the once prosperous Bakerton mines, are ever-present in these stories, looming over characters’ shared histories. I was concerned, at first, that most of the stories were going to revolve around timid young women who are taken advantage of in a variety of ways, but I shouldn’t have worried, Haigh would never resort to such a limiting palette. Instead she creates a variety of experiences that exhibit strength, weakness, love, bitterness and a whole host of experience. I was particularly struck by ne’er-do-well Sandy’s story; a man with a gambling problem, racing to escape his roots who comes to a possible turning-point on his 33rd birthday. We later find out what becomes of Sandy in a subsequent story, and both stories add up to something powerful and moving. One final bit of praise, I just loved the meaning of the book’s title: a lovely, poetic image.

#11 – Alice Bliss by Laura Harrington

With Alice Bliss, Laura Harrington takes a fairly basic theme, the loss of a loved one, and creates a powerful coming-of-age story in a fully-realized community. When Alice’s father, Matt, enlists in the armed services and is stationed in Iraq, she is bereft. Her father is the one family member who knows her and understands her the best. Fully immersed in adolescence, Alice’s relationship with her mother, Agnes, is complicated, besides with Agnes is dealing with her own fears about her husband. Then there’s her younger sister, Ellie, who’s just too young to really understand what’s going on.

Harrington’s novel focuses on Alice, turning the loss of her father into a powerful transition to adulthood, but what is truly remarkable is the way she effortlessly slips into the minds of the many other important characters in the book who are profoundly affected by Matt’s absence. Matt leaves his family right at the beginning of the book, but his presence is overwhelming throughout. Through reminiscences Harrington brings Matt fully to life, showing how strong his ties to each of the females in his life, and how different.

Beyond the rich characterization of Alice and her family, Harrington does the same for the community they live in. Henry is the awkward boy next door, who has been Alice’s best friend practically from birth, and whose relationship with Alice is suddenly changing. Uncle Eddie is Agnes’ charismatic, devil-may-care brother who finds his role in Alice’s extended family evolving. Alice’s Gram who owns the local coffee shop must suffer her own loss while bolstering the floundering family. Even minor characters, like Mrs. Piantowski who bakes the bread for Gram’s coffee shop, or Mrs. Minty who has suffered tragedies of her own become startlingly real under Harrington’s skillful guidance. Rarely have characters in a novel come so alive for me. Harrington’s story follows a lovely arc, with the ending in particular, hitting a series of beautifully drawn notes. A truly successful debut from a talented writer.

January 2, 2014

Favorite Books Read in 2013 – #’s 13 & 14

A book with a twist ending, and a surprise entry from a beloved celebrity trying her hand at writing make the list. You know, about the latter, chick lit can really be a lot of fun. I can see why it’s a popular genre.

#14 – Help for the Haunted by John Searles

I’ve read a lot of coming of age novels this year, and they’ve all been on the positive side of good. Help for the Haunted is no exception. Sylvie and Rose Mason have grown up dealing with parents who help people who are experiencing what they believe are hauntings or possession. When they are murdered on night during a blizzard, and an arrest is made, it is primarily due to Sylvie’s testimony. However, Sylvie has lied, and she is also not really sure what happened that night. By jumping between the past and the present, Searles slowly unspools the story until explaining things with a last minute reveal that is almost out of nowhere. That said, it worked well, and there were just enough obscure hints as to have it make sense. This one was a September Library Reads pick.

#13 – The Star Attraction by Alison Sweeney

As a huge ‘Days of our Lives’ fan, and of Sami Brady’s in particular, how could I resist Sami’s portrayer, Allison Sweeney’s first novel, the effervescent and good-hearted The Star Attraction. Hollywood publicist extraordinaire, Sophie Atwater, lands a major client for her agency, in the form of Billy Fox, the next Brad Pitt, on the cusp of superstardom. How could she predict that one of her biggest career coups would do thoroughly disrupt her life in a soap opera scenario reminiscent of her author’s alter ego. Thoroughly entertaining, but with real heart, and a delightfully relatable heroine in Sophie, The Star Attraction is a behind-the-scenes look at the antics of the Hollywood elite as seen through the eyes of a publicist to the stars. Allison Sweeney has created a quick and enjoyable summer read, that makes you cringe at its heroines missteps, and cheer when she surmounts the obstacles around her.

January 1, 2014

2013 in Books. Let’s Start with #15

As has become an annual tradition, I will be counting down my top books read in 2013. I didn’t do quite as well as last year in the number of books read: only 24 in 2013. I am particularly appalled because a couple of my friends have reported reading over 200 books in 2013. What? How does that even happen? That’s an average of a book every day and 3/4! I suspect there’s some skimming going on. Anyway, despite only having read 24 books in 2013, I’ve still got a very health Top 15 to report on. That’s right, fifteen books I would definitely recommend.

Of the also rans, I will mention The Enchanted by Rene Denfeld, which is definitely worth checking out when it is released in early 2014, and is beautifully written, but didn’t quite make the cut. My Beautiful Failure, Janet Ruth Young’s third novel for teens is a terrific sequel of sorts to her outstanding debut novel, The Opposite of Music. (Janet’s previous novel, The Babysitter Murders, was my #12 book read in 2011.) Marta Acosta’s The She-Hulk Diaries was lots of fun for a novel based on a comic book character. Sadly, despite a couple of great stories, overall I didn’t really enjoy Tom Perotta’s latest collection, Nine Inches. And my biggest disappointment of the year was Mr. Penumbra’s 24-hour Bookstore by Robin Sloan, which I enjoyed, but not as much as I was hoping I would. And now for #15…

#15 – The Death of Bees by Lisa O’Donnell

Marnie and Nelly are sisters whose parents are neglectful drug addicts. But that’s all over now. As the book begins, Marnie and Nelly are burying their parents whose self-destructive tendencies have brought them to the end of their lives. The girls face nearly insurmountable odds just to grow up, but with the help of next-door neighbor Lennie, and a couple of other surprising sources, they will struggle to endure with surprising results. Lisa O’Donnell has crafted a dark coming-of-age story that shows the strength of siblings beaten down by the harsh cruelties of life and created a couple of unique voices in fiction.

August 22, 2013

Tusk!

I periodically go on a Fleetwood Mac jag, where I can’t get enough of their albums. And not being a Stevie Nicks sycophant (although I do enjoy a lot of her work) but a Christine McVie fanatic, my Fleetwood Mac listening is not limited to their 1975 white album on, but goes back to the early 70’s, pre-Buckingham Nicks, when the likes of Bob Welch and Danny Kirwan were members. My latest obsession from the last couple of weeks has been Tusk, their 1979 follow-up to the phenomenally successful, life-changing Rumours.

Tusk was a curious album. There was no way the band was going to repeat the magic that emerged out of their personal break-ups and formed Rumours, number 10 on the list of best-selling albums of all time. (You can see that list at http://www.celebritynetworth.com/articles/entertainment-articles/whats-the-biggest-selling-album-of-all-time/). I’m sure the pressure from their label, Warner Bros. was pretty intense to do just that, but the band went in a completely different direction. While it seems that Lindsey Buckingham was the driving force between the pseudo-punk, vaguely country tone of Tusk, certainly throughout all of his, the majority, contributions, his quirky production served Christine and Stevie’s compositions well. Back in 1979, when Tusk was released, it was a rather shocking turn from Fleetwood Mac. When listened to today, it seems even more incomprehensible juxtaposed with Rumours, but it works all the better for it. The double album cost $1M to record, an exorbitant amount at the time, and with it only reaching #4 on the U.S. Billboard charts it is considered a disappointment. Still, it did sell over 2M copies, earning a double platinum certification.

The title track was released as a single in advance of the album, and should have been a good indication that this was not going to be a Fleetwood Mac album like anything we’d expected. From the jungle beat of the drums, the bizarre lyrics mumbled, then half-shrieked, and the overlay of the USC marching band, this was something visceral and different. I was transfixed. I ran around my high school (I was a senior) shouting Tusk! I even included it as one of my quotes in the yearbook.

Now as I listen to Tusk some 34 years later, I am struck by how forward thinking it was, and how I think it might be Fleetwood Mac’s best album. Okay, maybe not their best, but certainly Lindsey Buckingham does his best work ever with the band, or at least, most original. Stevie Nicks turns in some pretty interesting work as well, and while Christine McVie has always been, in my opinion, the most reliable of the Mac songwriters, she doesn’t disappoint on Tusk. While Tusk is arguably Lindsey’s album, it’s the way he pushes Christine and Stevie to the far reaches of what could be their comfort zones that really shines on Tusk. (Although, part of me hopes that they all had fun trying out stuff they’d never usually perform – just take another listen to ‘The Ledge.’)

My current obsession is Christine McVie’s ‘Think About Me.’ It was a third single off the album, and is considered a minor hit for the band, only reaching #20 on the Billboard singles chart. When I first heard ‘Think About Me’ it seemed a typical McVie single, reminiscent of ‘Don’t Stop’ and ‘Say You Love Me.’ Listening to it today, I am struck by the rock ‘n roll and punk influences, and the sparse, powerful mix of the song. Lyrically, McVie injects a little wry sarcasm into the song, something she is not usually known for. ‘Think About Me’ really features the power of McVie’s piano driving the song rhythmically forward, and Buckingham’s chunky guitar blends to create something truly rollicking. Once again, McVie choses to alternate vocals with Buckingham, the former taking the lead on the vocals, the latter leading the bands trademark sublime harmonies on the choruses. The vocal mix is perfect, with each of the unique voices easily picked out when they sing together. Add to that the solid foundation of Fleetwood’s drums and McVie’s surprisingly flashy bass and it thrills me every time I listen to it. McVie’s other contributions include the album opener, ‘Over & Over,’ the haunting ‘Brown Eyes,’ the gorgeously simple and heartfelt ‘Never Make Me Cry,’ the intricate confection ‘Honey Hi,’ and one of the best album closers ever, ‘Never Forget.’

Stevie Nicks’ most memorable song on Tusk for most people is ‘Sara,’ the second single from the album, and the highest charting, climbing to #7 on the Billboard charts. I’ve always found ‘Sara’ to be rather uninspired, overlong and little boring. The fourth single from Tusk was Stevie’s ‘Sisters of the Moon,’ a dark, pseudo-sequel to ‘Rhiannon.’ Nice enough, but pretty standard Stevie-fare. Her other three compositions for Tusk are some of her finest work. ‘Storms’ is a gently rumbling lament, beautifully constructed, and more complex than much of her Fleetwood Mac work. ‘Angel’ is probably my favorite song Nicks wrote for Fleetwood Mac. It’s got a bouncy, bluesy chord progression that makes it sound like a Christine McVie composition sung by Nicks. The hauntingly lovely ‘Beautiful Child’ closes out Nicks’ contributions to Tusk. Powered by McVie’s gentle piano and flush with the vocal interplay Fleetwood Mac is known for ‘Beautiful Child’ is a heartfelt ballad that highlights Stevie’s strength as a songwriter. While Nicks’ songs are possibly the least affected by Tusk’s strangeness, Buckingham keeps the arrangements sparse and raw lending an urgency even to her most gentle numbers.

But it’s true, Tusk is really Lindsey Buckingham’s album, and his creativity and originality really show through on his songs. Penning nine of Tusk’s twenty songs, Lindsey’s short, energetic numbers are like exclamatory punctuation marks sprinkled through the narrative. His songs burst with heavy, distorted guitars and raucous vocal shrieks that convey frustration, anxiety and anger. In some cases the bizarre lyrics seem interchangeable (and in fact, listening to the demo tracks included on the 25^th anniversary release, snippets of lyrics are used on various songs). The first of Lindsey’s songs you experience is the punk/country hybrid called ‘The Ledge.’ You might think, ‘he’s lost his mind, what the heck is this?’ but it’s a powerful locomotive of a song with the three vocalists harmonizing with wails and whispers the likes of which Fleetwood Mac had never explored before. ‘Not That Funny’ is Buckingham’s punk response to Rumours’ ‘Never Going Back Again.’ It’s a bouncy pop ditty that leaps off the record with a high-pitched acoustic guidtar part that sticks in your head. Along with ‘That’s Enough for Me’ and ‘I Know I’m Not Wrong’ these are three musical outbursts that highlight Lindsey’s new musical direction and his frantic energy. ‘What Makes You Think You’re the One’ is almost traditional anchored by a pounding piano line that McVie once said made here wrists hurt after a day of recording. ‘Save Me a Place’ and ‘That’s All for Everyone’ are lush, dreamy tracks that retain the quirky sensibilities of Lindsey’s current vision, but are less confrontational and again, use the trio’s vocal interplay to maximum affect. Buckingham’s most beautiful number is yearning falsetto-powered ‘Walk a Thin Line.’ It highlights his adept vocals but it once again takes the expected Mac oohs and aahs and pushes them slightly left of center to remind us that we’re not listening to Rumours.

The first time I saw Fleetwood Mac live was during the Tusk tour at the Boston Garden. It was a glorious show, and was the first of three (or maybe four times) that I was able to see them live. I know they have had a bit of a return in the past few years, but without Christine McVie, it’s just not the same for me. There was some sort of magic when those five made music together, and Christine McVie is one of my all time musical heroes. I’m just glad the band has a long history of music to which I can return.

April 22, 2013

What a Life!

Terribly saddened to hear this morning of the death of Chrissy Amphlett, former lead singer of the Australian band Divinyls. She passed away in her home in New York City where she lived with her husband, former Divinyls drummer, Charlie Drayton, after suffering from breast cancer with which she was diagnosed in 2010 and MS in 2007. She was only 53 years old.

Although best known in the States for her titillating Top 5 U.S. hit “I Touch Myself” in 1991, the Divinyls came into my life in 1983 with the U.S. release of their first album, Desperate. I was introduced to Divinyls by my friend Doug, who was the one who often discovered these bands first, and I wasn’t thoroughly convinced right away. Their first single, “Boys in Town” was a smash, Top 10 in Australia, but it only got a little airplay in the States. The song that captivated me from their first album was the clever love song, “Science Fiction.” With its witty lyrics and catchy pop hook, “Science Fiction” just gets in my head and keeps me singing.

Their follow-up album, “What a Life!” was arguably their breakout album on alternative radio in the States, led by their first charting single in the States, “Pleasure and Pain,” written by Holly Knight and Mike Chapman. Every song on that album is a winner, but once again, it was their second single that had the biggest impact on me, the beautiful pop confection, “Sleeping Beauty.” It’s a beautiful song with subversive lyrics, barely contained sexuality, and a feminist twist that was often found in Amphlett and McEntee’s songs.

Divinyls will be well remembered for their intense stage performances, and Chrissy’s wild antics and school girl outfits. She hurled herself across the stage, pouting, sneering, careening into her partner-in-crime, guitarist Mark McEntee. I was fortunate to see Divinyls perform life several times, from tiny clubs like Axis to much larger venues, and even got to go backstage to meet them after their self-titled album that spawned their biggest it. I will cherish a photo I have with the band, and Chrissy running her fingers through my hair. I like to say, the woman who touches herself was touching my hair.

They went on to record several more albums peaking with their afore-mentioned smash hit, “I Touch Myself.” Chrissy also performed on stage and screen. Her film debut was the Austrlian film MONKEY GRIP, released in 1982. She had successful theatre experiences, playing Judy Garland in the touring company of “The Boy from Oz,” and playing the lead in “Blood Brothers.”

Chrissy announced her diagnosis of MS at the start of their 2007 tour, and was diagnosed with breast cancer in 2010. The last years of her life were difficult as her body failed her. But her music will live on. Divinyls were a major part of the soundtrack of my life in the 80’s. Everytime I go back and listen to their catalog I thrill to the songwriting skills and musicianship found in their music. Chrissy Amplett was a pioneer for women in rock, unafraid of her sexuality, rage, and vulnerability that found her a unique and ground-breaking place in the male-dominated industry. I will remember her and her music as an integral part of my coming-of-age.