Revolver

The Bullet: A Novel (Gallery Books, $16.00, 357 pages)

Caroline Cashion, an attractive middle-aged Georgetown professor, is happy in her solitude until she begins having pain in one of her hands. Medical tests reveal that she has a bullet lodged in her neck, near her brain. It turns out that she was adopted at the age of three, and that her parents were murdered at the same time she was shot. The bullet that hit Cashion failed to kill her because it passed through her mother’s body first. Shocked, Cashion is determined to find out what happened almost four decades ago and why.

Mary Louise Kelley’s second novel (Anonymous Sources) is quite engaging and told in true cinematic fashion. The story is based in the D.C.-area, with stops in Atlanta and Paris. I will guess that most readers will enjoy the read until about four-fifths of the way through the novel. And then it becomes problematic as Kelly has created a conclusion that’s a bit too clever – in the mode of Scott Turow’s Presumed Innocent, and far too unlikely to occur in the real world. Cashion herself complains in the story about “…novels with bleak endings that drove you to despair.” The ending here drove me to a place called Disappointment. It’s not a pleasant stop.

Joseph Arellano

A review copy was provided by the publisher. This book was released in trade paperback form on December 8, 2015.

Note: The hardbound release of The Bullet was labeled as A Thriller. The trade paper version is listed as A Novel, which appears to be more accurate.

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Everything Changes

Music Review: Julian Lennon – ‘Everything Changes’ [2013 Reissue]

Julian Lennon’s sixth studio album, his first since 1998, is called Everything Changes. Originally released on a limited basis in 2011, this re-release adds two bonus songs to the 12 that made up its initial pressing: “Someday” and “In Between.”

It might have been called “Entropy,” to reflect a belief in disorder or uncertainty or degradation in our personal and universal existence. Lennon is concerned about many things here. He sings that, “Nothing stays the same/When you’re lost and when you’re broken.” Interestingly, his views on the hazards of life and living are much like those expressed by James McCartney on his Me album. (Is there something about being the son of a Beatle?)

Fortunately, matters are positively resolved before the end of this 65-minute plus collection of music. Lennon concludes that, “There’s always light at the end of the tunnel.” He also reminds us that, “We’re all in it together/One love now and forever.”

Here’s a look at the songs on Everything Changes, now available for downloading on iTunes and elsewhere, as well as on CD.

From the opening notes of the title song, “Everything Changes,” this sounds like a song from another Beatles-influenced musician; something that would prove to be true of other songs on this 14-track album.

On the song “Someday,” Julian joins with Steven Tyler of Aerosmith to ask an interesting question: “How does it feel to be one of the beautiful people?” Wait, haven’t we heard this before? Yes, Lennon borrows a line from a Beatles song in a tune built around a Magical Mystery Tour-style sound. Think of “I Am the Walrus” melded with “Blue Jay Way.” Having Lennon and Tyler sing together seems like something that wouldn’t work, but oddly enough it does and it works quite well.

While “Someday” is an almost joyful tune, Lennon notes that when it comes to life, “it’s just about holding on.”

“Lookin’ 4 Luv” is like a lost ’70s tune by the Beatles or Badfinger. It’s alternately sad and hopeful: “Why do you look the other way/When I’m trying to see your soul?… I’m searching in all the wrong places/I’m down but I’m fighting back again.”

“Hold On” is a piano-based tune on which Lennon sounds frighteningly like John Lennon: “Shall I give my heart to break again/Can it be real that I have lost a friend?” The recording includes a partially distorted vocal track, a technique of which John was fond. “Touch the Sky” is a composition that may have been inspired by the 2009 death of Lucy O’Donnell (the inspiration for John’s “Lucy in the Sky with Diamonds”): “We all want to touch the sky/We all ask the question why/We all need a helping hand.” Lennon’s wishes in the song are in accord with the Beatles’ values: “I just hope and pray peace will come one day.”

“Invisible” is Beatlesque: “Remember love forgotten… I know that love surrounds you/It’s invisible.” Had this been recorded by the Beatles, George Harrison would likely have sung it.

“Just for You” is a track that sounds in virtually every respect, save for the absence of a keyboard instrument, like a Brent Bourgeois (“I Don’t Mind at All”) recording. Lennon sounds like Bourgeois in his phrasing and vocal inflections. There’s a soft opening, broken by a strong bridge with angst-filled and religious-inspired lyrics: “You know I’ve talked to the Virgin Mary/Prayed to the Holy Ghost/Hung with the Bodhisattva for the one I love the most/And I’ve danced with the fallen angels/Sold my soul to the shadow mind just for you.”

It turns out that there are multiple tunes in the Bourgeois style on Everything Changes. It’s best left to the listener to determine the actual number.

“Always” is a surprise with its Pink Floyd instrumentation, while “Disconnected” could have fit on either Magcial Mystery Tour or Revolver: “Cradle life and love and let it flow.” “Never Let You Go” is another song in the style of Revolver.

“Guess It Was Me” is a nice ethereal track that calls to mind Crowded House. “In Between” is a completely original song in which Lennon laments that, “Reality was only in my mind.” (This might be his “Eleanor Rigby.”)

Those who download this album might be surprised to find that the two closing songs are listed as “Track 13” and “Track 14.” Not to spoil the surprise, but track 13 is “Don’t Wake Me Up,” on which Lennon sings in the style of Harry Nilsson. Track 14 is “Beautiful,” a very moving and heartfelt tribute to Julian’s father: “The feeling still remains/(Though) you’re on a different plane.” It’s a song of resolution and perhaps redemption.

Lennon has said that the songs on this release have “a dreamy, floaty quality.” This highlights one of the album’s flaws, a sameness to the ballads which can become wearisome. If only he had skipped one or more of the spacey songs and included a flat-out rocker like “Day Tripper,” “Helter Skelter,” or “Johnny B. Goode.” These are songs he’s performed gleefully on stage.

While Everything Changes falls short of being essential, it’s very close to being an excellent album and is well recommended.

Lennon is the son of a late musical legend. He shines on in his own way.

Joseph Arellano

This review originally appeared on the Blogcritics site:

Music Review: Julian Lennon – ‘Everything Changes’ [2013 Reissue]

Only Love Can Break A Heart

Music Review: Brian Dolzani – “if i don’t speak a word…”

Is Brian Dolzani’s new album a sign that the best is yet to come from this singer-songwriter?

There are certain albums that we use to mark time. Consider this chronology… In 1969, Neil Young released his first, self titled, solo album which demonstrated that he was a distinct artist apart from the Buffalo Springfield. In 1991, Matthew Sweet released Girlfriend, a mix of ballads and joyful hard rock pop that resulted in its becoming the best-selling album on college campuses that year. And in late 2012, Brian Dolzani released his lower-case entitled 12-song collection, if i don’t speak a word…

Dolzani’s website uses three words to describe his album: Introspective/Heartfelt/Intimate. It’s a start.

My first impression, upon hearing an early sampler with 5 songs from word, was that Dolzani sounds more than a bit like early Neil Young. He also has a freshness and love for his craft that calls to mind the younger Matthew Sweet. It just so happens that both Sweet and Dolzani are admirers of Mr. Young, and sing one or more of his songs when they perform live.

Dolzani has a great way with words and phrases, some of which are only caught after listening to his songs more than once: “I spent a lifetime looking for a lost clue…”, “I fell in a forest and nobody heard it…”, “History is yours to steal…”

The CD begins with “Older Now,” which sounds like a track from the Crosby, Stills & Nash album. The singer is still trying to figure out life, and we’re the beneficiaries of his confused pondering. Track two, “Reasons,” sounds like Leo Sayer in its melancholy tone and lyrics. Which takes us to “Whether or Not,” the best song never recorded by Neil Young and Crazy Horse. The singer is battered and bruised by life and love’s indifference, “I lose blood and it matters not to me…” He wants to see the face of the guy who his girl now loves more than he. Although the band behind Dolzani is a bit too synchronized to be Crazy Horse, any Young fan will agree that this is a fine song in the style of Everybody Knows This Is Nowhere or After the Goldrush.

In “Before Midnight,” the singer asks his girlfriend to respond to his questions: “Are we still good together? Are we still in love?” Here, Dolzani comes across like an early day Jackson Browne. He interacts well with the instrumentation, singing with it and not overpowering it. “Sail This Sea,” is a divorce song that might have been written by Phil Collins. “I’ve been trying so long, and all I got was another song.”

The protagonist of “Broken” views his life as a mess, with the pieces of his body lying on the floor. The singer has been knocked down, but he’s ready to get up and rejoin life; he’s healing even if it means having to revisit “old feelings, old dreams.” It’s a Tim Hardin-style song that reminded me of “No Regrets.” In “Not As Lonely,” the protagonist tries to convince himself that his world has not ended because his lover has left him. It recalls “I Thought I Knew You” from Sweet.

“Hey Dad” is Dolzani’s tribute to his late father, a man who was not perfect. It’s enlivened by a Beatles Revolver-style backing track. “Wilted” includes a Harvest era melody harmonica, as the singer concludes (in words that almost sound lifted from Young), “Happily ever after is a fantasy…” The protagonist in Young’s “The Loner” would identify perfectly with this song.

“Fair” is about the unfairness in a relationship in which one party loves more than the other. The sentiments are similar to those on Sweet’s “Nothing Lasts” and it’s bolstered by a nice steel guitar. In the piano-based “Autumn in Central Park,” the singer expresses ambivalence about love. “Even when you know that you’re in love/There are times when you’ve had enough…”

The album concludes with “I’m Sorry Now”. The singer is down (“I’m sorry for the way I can make you feel like you’re dead.”) but there’s a tone of hopefulness for the future on the edge of his voice. It makes for a fitting conclusion to the album, except that it feels like an idea for a song rather than something fully realized.

I think most will find this to be a pleasant and enjoyable collection of songs. Its weakness is that it suffers from a lack of variety in tone. As one person remarked, “A little bit of that guy goes a long way.” On Girlfriend, Matthew Sweet sang a number of heartbreak ballads, but he also unleashed four wild and heavy rock songs, “Divine Intervention,” “Evangeline,” “Girlfriend” and “Does She Talk?” Perhaps Dolzani can find two or three lead guitarists to similarly embolden his next recording session.

Bear in mind that Brian Dolzani is a very talented and creative musician. He may now have to live with the knowledge that – as stated by the reknowned philosopher Snoopy – “There’s no heavier burden than a great potential.”

Well recommended.

Joseph Arellano

This review originally appeared on the Blogcritics Music site:

http://blogcritics.org/music/article/music-review-brian-dolzani-if-i1/

To hear the complete album, if i don’t speak a word…, go to:

http://www.briandolzani.com/wp/listen/

A review copy of the CD was provided by a publicist.

Get Off of My Cloud

Mick Jagger by Philip Norman (Ecco Press, $34.99, 622 pages)

A supreme achiever to whom his colossal achievements seem to mean nothing…  A supreme extrovert who prefers discretion…  A supreme egotist who dislikes talking about himself…

Record company executives often told Andrew Loog Oldham, the first manager of The Rolling Stones, that they would “never get anywhere” unless they dumped their generally mumbling lead singer, one Mick Jagger.   Of course, those executives were wrong and Philip Norman serves up these types of gems while delivering a Behind the Music-style account of the lead singer’s life.

One of Norman’s strengths is that he tends to call things in a supremely honest fashion.   He states that the music of the Stones “sounds as fresh (today) as if recorded yesterday” (something that’s likely up for debate), and he labels the band as the “kings of the live performance circuit” – both yesterday and today.   Still, he admits that the music of the Stones – with one possible exception – never “seriously competed with the Beatles.”   It was in the Winter of 1966 that the Stones released Aftermath which Norman views as one that challenged the Beatles’ Revolver.   Well, not really…  Aftermath was a very good, traditional rock album which, looking back, does not match the daring experimentation of Revolver.   It was if the Stones were content to stay in the present while The Beatles were creating rock’s future.

Norman’s engaging, relaxed style also benefits from a fine use of humor.   For example, in describing the release of the song Satisfaction in Britain, he notes that it “(nauseated) almost everyone over thirty.”   And the Prologue to Mick Jagger is labeled “Sympathy for the Old Devil.”

The problem is, in the words of a Beatles’ song, that “It’s All Too Much.”   Most presidential biographies don’t run 622 pages, and some quite reasonable editing could have reduced this account by a good 200 to 225 pages.   There are words, paragraphs, stories and more that could have been left out without harming the narrative.   More is not always better, and Norman seems to be desperately trying to compensate for the fact that Jagger has refused to assist any biographer, the singer always insisting that he has virtually no memories of events in his distant or even recent past.

What one should expect, after plowing through hundreds of pages, is to find some sense of the subject’s character, his nature,  his essence.   I note three things missing from this overly long treatise on Sir Mick: his mind, his heart, his soul.   That’s a lot that’s missing, and it may be that Jagger is such a clever butterfly that any attempt to capture him and place him under glass is futile.

Joseph Arellano

A review copy was provided by the publisher.

Tomorrow Never Knows

“I feel like the 1960’s is about to happen.   It feels like a period in the future to me, rather than a period in the past.”   Paul McCartney, 1994

After the Falls: Coming of Age in the Sixties – A Memoir by Catherine Gildiner (Viking; $25.95; 368 pages)

This is a memoir that I simply didn’t understand, and let me try to explain why.   Memoirs – literally, a telling of personal memories – generally fall into one of two categories.   In the first, the writer self-examines his or her own life very closely (if not microscopically) and critically.   These generally conclude with life lessons and the writer’s unflinching willingness to accept responsibility for the mistakes he or she has made.   With the second category, the writer plays it for laughs.   Basically, he/she says, “I was young and irresponsible.   I know that now, but back then I was such a fool.   Oh, well, such is life!”

In After the Falls, Catherine Gildiner refuses to place herself in either category.   She writes here about a life filled with errors and omissions but then declines to accept responsibility for her own role in it.   (She’s shocked when a crime happens in front of her very eyes; a boyfriend lies to her – actually he simply fails to tell her the truth; she acts hatefully toward her parents, etc.)   In a sense she commits one of the worst offenses imaginable in life, which is to be a mere observer of her actions and inactions.

Let me give a specific example of her disclaiming of responsibility.   At one point, she writes about observing the gang rape of a presumably underage  girl while hiding in the closet of a female friend’s house.   The rape is instigated by the friend’s older brother.   Does Gildiner report the crime to anyone?   No.   Does it even make her angry?   Apparently not, although she thinks now and then about the girl who was repeatedly violated, but…  But she rejects any responsibility on not one, but multiple instances within the pages of After the Falls.   This raises a key question that must be asked:  If one does not want to accept responsibility for things that happened decades earlier, why write a book that tells the entire world about those actions?   (In other words, what is the point of all this?)

I did not read Gildiner’s earlier memoir Too Close to the Falls, but I did notice one person’s comment to the effect that this memoir is darker and more depressing than Too Close.   Well, yeah.   Frankly, I found it a bit dangerous as well as depressing.

It’s also, sadly, in this reviewer’s eyes a bit of a distortion of what it was like to grow up in the 1960s.   There was a lot of excitement about human potential and about the leaders who later fell – beginning with John Kennedy and extending through Martin Luther King, Jr. and Robert F. Kennedy.   There was also the Civil Rights Movement (touched upon tangentially in these pages), and great music.   But this memoir would lead one to think that the entire decade was,  in the words of one notable rock band, “a drag…”, as in “What a drag it is getting up.”

To her credit, Gildiner concludes this unconventional account with an admission of how belatedly she grew to love and appreciate her parents – especially her father who lived for six years with a cancer that eventually turned his brain into “an empty honeycomb.”   But it seems to be too little too late.

Missing most of all is a sense of the joyousness of growing up in what was truly a unique and energizing time.   We may not be able to go back to those times, but we can certainly treat the decade more kindly that it has been portrayed here.   A bit of gratitude might have been in order.

This review was written by Joseph Arellano.   A review copy was received from the publisher.

Love You To

A Dog’s Purpose: A Novel for Humans by W. Bruce Cameron (Tor Forge; $22.00; 320 pages)

“And the people who hide themselves/ Behind a wall of illusion/ Never Glimpse the truth/ Then it’s far too late/ When they pass away.”   George Harrison (“Within You Without You”)

A Dog’s Purpose is a 320-page novel targeted for adults.   This is a story of a dog named Toby who dies and is reborn as Bailey, then becomes the female Ellie and finally Buddy.   It is a novel on the subject of reincarnation that will not convince anyone that it actually happens, but it’s told in a charming voice.   The dog’s voice, no matter which of the four dogs is being portrayed (and regardless of age) is that of a non-threatening and generally naive pup which is why children will identify with it.

Had this been truly written for adults, it would have been better structured as a novella.   It goes on too long to make the rather simple point that love between humans and their pets is always reciprocated.   Any child who has loved stories like My Dog Spot will likely be enchanted with this one, but the adult reading it to a child is best advised to break it into 40 or so digestible bites.

Any they lived happily ever after, and were reborn again and again and again.   Woof!

Take Away:   This novel, sold as a childlike story for adults, is actually a long children’s story that might be read to children by adults.   There are, however, dozens and dozens of great children’s books currently available, any one of which might be a better choice.     

This review was written by Joseph Arellano.   A review copy was provided by the publisher.