The Masquerades of Spring, by Ben Aaronovitch

This is great fun - a Rivers of London novella set in New York in the Jazz Age, narrated by the woosterish Augustus Berrycloth-Young. Gussie has fled London and the stern wizards of the Folly because he's been using magic for daft pranks. Then Thomas Nightingale turns up on his doorstep, seeking help to track down a magic saxophone...

It's a fast-moving, quick-witted caper, full of pithy one-liners but grounded in the real history of the jazz and drag scene, prohibition, racism and homophobia. That makes it sort of Dashiell Hammett as written by PG Wodehouse, with some magic mixed in - and not nearly as easy to pull off as Ben makes it look. 

Of course, he has form here. That use of a specific time and place to add some heft to the adventure is the same trick as in Ben's Remembrance of the Daleks (which I adore). Just as that story hinted at hitherto unknown secrets in the Doctor's past, this novella provides some tantalising clues about the early life of Thomas Nightingale.

There's another link to Ben's TV Doctor Who in that Peter Walmsly is, here on p. 29, a reverend who led prayers at Casterbrook school of wizardry, decades before his stint as an archaeologist for the Carbury Trust.

I found it compelling and read it in a day. It closes with the prospect of many more such adventures for some of the principal figures here. Yes, please.

Rivers of London novels I've also blogged about:

• Lies Sleeping
• False Value
• Amongst Our Weapons

Rivers of London novellas:

• What Abigail Did That Summer
• The October Man

Don't Stop the Music, by Justin Lewis

By fun coincidence, I received a copy of this book - recommended to me by various friends since publication last year - two days after happening to meet its author. By another fun coincidence, I've finally read it having just read Question 7 by Richard Flanagan, which explores the idea of the past and present all happening at once. In Don't Stop the Music, the idea is more, I think, that there's an overlapping past.

This is basically a sort of toilet book full of odd bits of pop music history. But the organising principle lifts it into something else. Lewis provides facts for each calendar day of the year, in chronological order. In the very first entry, we learn that on 1 January 1958 Johnny Cash plays his first concert at San Quentin State Prison in California, where future country-and-western singer Merle Haggard is one of the captive audience (the author's pun). On the same day in 1962, the Beatles record five songs for Decca Records, who turn them down. On the same day two years later, the Beatles are at #1 with 'I Want to Hold Your Hand' and the first edition of Top of the Pops is broadcast on the BBC (featuring Dusty Springfield, the Rolling Stones and the Hollies). On the same day in 1990, Florida radio station WKRL plays 'Stairway to Heaven' by Led Zeppelin - and continues to repeat it non-stop for 24 hours.

Note the present tense of all this: these bits of history are still happening now, a sense reinforced by the fact that we can hear the music. In fact, I read this with my phone handy to look up tracks on iTunes - stuff I'd not heard in a while, stuff that was wholly new.

Also, note the range in just this first entry: pop and rock and country, reaching right back to the birth of rock n' roll - and beyond. Other entries bring us up to date, or at least to time of publication. There's also a diversity of entry: some funny, some weird and some poignant.

There's plenty here I didn't know, for example that the launch of Sputnik 2 in October 1957 was timed to coincide with the International Geophysical Year involving 67 different countries. I knew about the IGY from when, more than a decade ago, the Dr worked on a BBC archive project which put old clips and programmes online. One thing she and her team dug out was The Restless Sphere, a programme presented by the Duke of Edinburgh - live - giving an overview of all the work planned. I'd not made the connection between that and the space programme, and I learn from Lewis that the IGY was also commemorated in 1982, in the opening track of Donald Fagen's first solo album after leaving Steely Dan, Fagen looking back to the promise of a future that should have been the then-now.

The book is full of these kinds of connections and juxtapositions. One song or event influences another, or the backing singing of one band then has their own entry as a star. These connections are the point; in the introduction Lewis says the lack of an index is a creative decision as he wanted to ensure the book is "a little more than a dipping-in exercise." What I'd really like instead is a map. 

By another fun coincidence, I've used a similar organising principle for Doctor Who: The Time-Travelling Almanac, which is out next month. My hope there was to conjure a sense of the year as physical journey as we go round and round the Sun, so the anniversary of any particular date is us returning to the same spot. In my book, that then sparks other thoughts and peregrinations, some of them much longer than the entries here. It's a different kind of journey, I think, but starting from a similar place.

Doctor Who Magazine #605

The new issue of the official Doctor Who Magazine is out today. Having hogged loads of the last issue, this time I've contributed one small-ish thing, a Who Crew interview with Sam Dinley, assistant to composer Murray Gold.

(There was something else, too, but it's being held over...)

Love and Let Die, by John Higgs

I really enjoyed this wide-ranging ramble through Bond, the Beatles and the British psyche. It charts the interweaving histories of the Fabs and 007, not just in their 1960s heydays but up to the present and beyond, exploring disparities and connections, and how our interpretations have changed. In detailing shifts in what Bond and the Beatles mean, it's a history of our changing mores and anxieties. It's a fun and provactive read - a book about connections that really connects.

"That's as bad as listening to the Beatles without earmuffs," quips Sean Connery's Bond in Goldfinger (1964), a moment before someone hits him. Yet less than a decade later, ex-Beatle Paul McCartney and ex-Beatles producer George Martin provided the soundtrack for Bond movie Live and Let Die (1973). I've long thought this was evidence of seismic shifts in contemporary culture over a very brief period, but not got much further that that. This is the territory Higgs dives into in his book, with lots of fresh insight and stuff I didn't know, for all that the subjects are so familiar.

How strange to realise that I've been part of these historical changes. I was at university in the mid-1990s when the Beatles enjoyed a resurgence in things like the Anthology TV series, and well remember debates had then about who was best: the Beatles or the Stones. How disquieting to realise, as Higgs says, that we don't make that comparison any more, without ever being aware of a moment when things changed.

Higgs is also of his (and our) time in rejecting ideas that I can remember used to hold considerable sway, such as that John Lennon was the 'best' Beatle, or the band's driving creative force. As the book says, there's growing recognition of what the four Beatles accomplished together rather than as competing individuals. There's something of this, too, in the way Higgs positions Bond to the Beatles. Initially, they're binary opposites, Bond an establishment figure Higgs equates with death, the Beatles working-class rebels all about life and love. By the end, it's as if they synchronise.

This might all sound a bit highfalutin but the insights here are smart and funny. As just one example, here's what Bond's favourite drink reveals about who he is.

"Bond's belief that he knows exactly what the best is appears early in the first novel Casino Royale, when he goes to the bar and orders a dry martini in a deep champagne goblet. Not trusting the barman to know how to make a martini, he gives him specific instructions. 'Three measures of Gordon's, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice cold, then add a large thin slice of lemon-peel.' When the drink arrives, he tells that barman that is is 'Excellent,' then adds, 'But if you can get a vodka made with grain instead of potatoes, you will find it still better.' Most people who have worked in the service industries will recognise a customer like this." (pp. 242-3)

Amazing - Bond as an umarell! 

I especially like how free-wheeling and broad this all is. There's stuff on shamanic ceremonies from the ancient past, stuff on Freud and the fine art world and Putin. At one point, Higgs talks about the damaging effects of fame in disconnecting a rock star (or anyone else famous) from everyone else.

"Drugs and alcohol appear to mask this disconnect, but in reality, they exaggerate it - cocaine in particular acts as fascism in powdered form. It erodes empathy and keeps the focus on the ever-hardening ego." (p. 294)

It probes the less palatable bits of popular history, grappling head on the complexities of our heroes' objectionable behaviour and views. Our heroes are not always good people, yet by framing this all as a study of how attitudes and culture have shifted, the book avoids making them all villains. 

I nodded along to lots of perceptive stuff, like the thoughts on why Spectre (2016) didn't work precisely because it used screenwriting structures that usually do well in other movies. But I'm not sure Higgs is always right. He argues that a derisive response to a particular CGI sequence in Die Another Day (2002) led to a serious rethink by the Bond producers, which included sacking Pierce Brosnan. I suspect a more pertinent reason was that - as I understand it - Brosnan injured his knee while filming the hovercraft chase and first unit production had to be postponed while he underwent surgery. That would have been expensive and an ongoing risk for an ongoing series of action movies. The fantasy of a Bond who is, over 60 years of movies, always in his prime, must square up against the practicalities of ageing. And that's in line with what Higgs argues elsewhere.

But I don't make this point to criticise. It's more that I found myself responding to the book as if it were a conversation, inviting the reader to engage - and argue. Most potent of all is the final chapter. Having delved so deeply into the past, the author maps out how Bond should develop from here. Yes, absolutely, a younger, millennial Bond who'll appeal to a new generation, and one big on fun and consent, and whose partners don't all die. But also -

[Thankfully, Simon is dragged off-stage.]

Masquerade: The Lives of Noël Coward, by Oliver Soden

This remarkable, detailed and insightful biography is a great joy, and in the audiobook version you get the author's impressions of various famous people. The result has been excellent company on a couple of long drives, often making me and other passengers hoot.

Coward would surely have approved the deft mix of comedy and bathos, and perhaps the stylistic flourishes, too. Some bits are related in script form (Soden's own invention, based on documented sources), and there's a final sequence in which Soden vies with (and rolls his eyes at) Coward's other biographers.

I'm especially impressed by the honesty when historical sources are clearly suggestive but we can't know for sure what went on, such as with Coward's early (sexual?) relationships with men. But what really makes this work is the clarity Soden brings. He unpicks the complexities of a whole bunch of different people who often masked their true selves. And he's good on the impact and response to events - whether that's a review, a break-up, a change in legislation. I'm particularly impressed by how vividly he conveys the war: the horror of the Blitz, the work Coward was given (and not given to do), and how that appeared to those not in the know.

Soden briefly covers the moment when, while shooting In Which We Serve (1942), Coward dressed down an actor for arriving late on set, and fired him in front of the whole crew. The story of William Hartnell's tongue-lashing by Noël Coward is also recounted by the film's assistant director Norman Spencer, who says that the role was quickly filled by assistant director Michael Anderson. Spencer expresses shock at Coward's behaviour, and I wonder how Anderson felt about what happened. He later cast Hartnell in Will Any Gentleman? (1953) -- alongside another future Doctor Who, Jon Pertwee -- and I wonder if that was partly from guilt.

(On 25 November 2009, when we recorded my Doctor Who audio story The Guardian of the Solar System, the two actors were required to read in lines as Hartnell's Doctor. Jean Marsh, who had of course worked with Hartnell, advised Niall McGregor to play him as Noël Coward. Which was more helpful than my recommendation to play him as Professor Yaffle from Bagpuss.)

Philip Streatfeild

I should also declare a small interest. Soden contacted me in 2021 about a family connection: my grandmother was the niece of Coward's (probably more than) friend Philip Streatfeild. Sadly, the original, faded photograph of Streatfeild I once found among some old family papers seems to have been mislaid; it was in a terrible state when I unearthed it. But I was able to share what my late father told me, and the result is a footnote in the book that would have delighted him - and has really pleased my mum.

From the index of Masquerade
by Oliver Soden

Soden, in turn, sent me a link to a page about Philip Streatfeild on the Dulwich College website, which includes a poignant letter written by my great-great-grandfather.

Cinema Limbo: Give My Regards to Broad Street

I've once again been a guest on Cinema Limbo, the podcast that picks over odd, old films. In this case, it's Give My Regards to Broad Street, the peculiar musical from Paul McCartney.

Cinema Limbo: Give My Regards to Broad Street (1984)

Previous episodes with me on them:

Cinema Limbo: The Wicker Man (2006)

Cinema Limbo: Smoke (1995)

Cinema Limbo: King Kong (1976)

Cinema Limbo: Ryan's Daughter (1970)

Cinema Limbo: Highlander II - The Quickening (1991)

Doctor Who Magazine #566

There is quite a lot of me in the new issue of Doctor Who Magazine:

FIRST BASE sees clever Gav Rymill recreate the studio sets of another missing episode, this time Episode 4 of The Tenth Planet (1966). Me and Rhys Williams write the accompanying text, detailing how the clever production team ensured that the departure of William Hartnell was not the death of Doctor Who...

BEAUTY AND HORROR is about the Radio 3 Afternoon Concert of TV music that included the first performance of cues from Richard Rodney Bennett's score for The Aztecs since 1964. I spoke to presented Matthew Sweet and percussionist Alasdair Malloy.

COMING SOON... includes a two-page feature on my forthcoming audiobook Scourge of the Cybermen, with producer David Richardson explaining how the range came about and me wittering on about what inspired my story.

SUFFICIENT DATA boasts another infographic by Ben Morris and written by me, this time on the theme of apples seen on mentioned in the whole history of Doctor Who. "That might be fun," I thought when I first suggested it. And then went slightly loopy researching it all...

Life Drawing, by Jessica Martin

In the midst of yesterday's deluge, a brave postman swam our street to deliver Life Drawing: A Life Under Lights, the autobiography of Jessica Martin told in comic-strip form.

I've know Jessica for years through comics and Doctor Who things (she played an alien werewolf in The Greatest Show in the Galaxy (1988-9)), and have read her previous comics work. It Girl (2013) and Vivacity (2014) are biographies of real Hollywood stars, and Elsie Harris Picture Palace (2015) is a fictional story about a Hollywood writer. Her own story continues the theme - a love of cinema's golden age weaving through her life.

I thought I knew Jessica's story, from her first appearances in TV sketch shows doing impressions, then on Doctor Who, to being in the huge stage hit Me and My Girl with Gary Wilmott - which my grandpa took me to see. Her account of her time in Doctor Who, and of producer John Nathan-Turner, didn't tell me anything new. But her book is full of illuminating detail, such as when she was in the pantomime Cinderella alongside a future Doctor Who co-star...

Peggy Mount, as seen in
Life Drawing by Jessica Martin

She's honest too about her own vanity and ambition, and how what she calls "erratic eating" affected her work. But this is much more than a series of showbiz anecdotes. It's not just that old Hollywood and muscials excite her, they inspire her to press on.

For all the breezy, straight-forward style, I loved how Jessica conveys the tangle of relationships and her love for people without condoning their actions. Early on, her dad pulls an "ornamental bull whip off the wall" during an argument with Jessica's mum, and we later learn that her parents were never married as he already had wife. He's a difficult figure, and yet we feel for him when Jessica's mum leaves him and in his estranged relationship with Jessica's half-brother, and in his final days.

The book ends with her sharing her drawing and comics with people who encourage her. Comics is a new chapter in her life, but she faces it with typical determination, passion and energy. That's what radiates from this book. It's inspiring.

Doctor Who Magazine #530

Doctor Who Magazine #530 is now available in shops and online. It includes my interview with musician Christian Erickson about how 1984 Doctor Who story The Caves of Androzani inspired his new album, The Caves - which I've been listening to a lot over the past few months.

The issue also includes a preview of The Women Who Lived, my new Doctor Who book which is out this week, and a nice review of The Eleventh Doctor Chronicles, which includes my latest Doctor Who audio play.

This issue of Doctor Who Magazine is also available as a deluxe edition exclusive to WHSmith, the goodies including a Doctor Who audio adventure from Big Finish (I'm afraid there's a risk you'll end up with one of mine) and a postcard of Lee Binding's cover art for The Women Who Lived.

I'll be signing the book later this week - at Forbidden Planet in London on Friday evening from 6 pm and at Forbidden Planet in Bristol on Saturday afternoon from 1 pm - along with my co-author Christel Dee and some of the artists involved.

And you can win a copy of the book by paying careful attention to this interview with me and Christel conducted by Phil Hawkins:

Doctor Who Magazine #517

Oops. I'd meant to post some things - about books I've been reading and nonsense in my head - but have been Busy. And now another issue of Doctor Who Magazine is out, when I'd only just mentioned the last one.

It's a little alarming that it marks 30 years of the Seventh Doctor, who I still can't help but think of as "new".

Anyway, as well as all the usual hijinks, issue #517 includes my interview with composer Dominic Glynn about the release of his soundtrack for 1989 story Survival - which I adore.

I'm also interviewed about my new book Whoniversal Records (out next week) and new audio play The Outliers (out next month), and there's a nice review of Paper Dolls (out now).

Oh, and tomorrow me and James Goss will be monsters-in-residence at Uxbridge Library from 6.30 pm. There will be shenanigans and maybe even shobogans.

Graceless title sequence

The t'rific Tom Saunders has made this tremendous opening title sequence for my science-fiction series, Graceless.


As the video says, it stars Ciara Janson and Laura Doddington with Annie Firbank and Sian Phillips, is written by me, directed by Lisa Bowerman and you can buy Graceless IV now.  

Graceless offers and trailer

Here, hear the amazing trailer for Graceless IV which is out later this month. The writing is by me but the extraordinary song is the work of Duncan Wisbey.



In the meantime, this weekend those splendid fellows at Big Finish are offering special offers on previous Graceless adventures.

The Music of Doctor Who

In shops today is a splendid new special edition of Doctor Who Magazine, devoted to the music of Doctor Who.

It boasts comprehensive features on the various theme tunes, the composers of the incidental music, songs and library recordings used in the show, and the music the show has inspired. There are lots of photographs of synthesisers.

I've written a short piece talking to three fans inspired by Doctor Who to compose their own music, and here are the four videos listed in my article.

1. Allegra Rosenberg performs "Say Hello (A Doctor/TARDIS Trock song)":



2. Amanda Palmer marks Doctor Who's 50th anniversary by performing "Say Hello" with help from her husband Neil Gaiman (who wrote the episode that inspired the song) and Arthur Darvill (who played Rory in that episode):



3. Scott Ampleford's latest score (and narration) for the Doctor Puppet series:



4. Stephen Willis's latest production with the Doctor Who Fan Orchestra:

Chart Wars - may the hits be with you

Last month in Manchester, the Dr and I stumbled across what might be the most 80s piece of vinyl ever pressed. Duran Duran. Bauhaus and Renee and Renato - together at last. And you thought Yoda flogging Vodaphone was a terrible cash-in*.



Yoda flogging Vodaphone is a terrible cash-in.

Podcasts

Three podcasts on which I witter:

Bad Wilf
Me and Joseph Lidster on writing, recorded 5 March 2011.

Radio Free Skaro
Me and brother/boss Tom Guerrier discussing our Doctor Who DVD documentaries in January.

Adventures in Time and Space and Music
I rabbit on about stuff, including music in Doctor Who, while a bit jet-lagged in Chicago last November.

Being there then

Eddie Robson kindly bought me Revolution in the Head by Ian MacDonald, a history of the Beatles song by song. This was after he'd seen what I got the Dr for Christmas. Eddie's also blogging about the Fabs and is much wiser on these things than me. I've always struggled to write about music.

But MacDonald quickly explains sort of why.

“[Some, mostly US critics] expect lyrics to make a certain sense and, if not to carry significance or responsibility, then at least to have the decency to be authentically rooted in their appropriate sub-cultural contexts. The Beatles, though, like so much English pop/rock, are too given to artifice and effect to be sociologically grounded in this way. Lennon and McCartney moved from thinking hardly at all about words to treating them as collages scraps to be pasted onto their music much as Picasso placed newspaper cuttings into his paintings.”

Ian MacDonald, Revolution in the Head, p. xxiv.

That's it exactly! I always felt literal interpretation of lyrics missed the point. Music isn't, or isn't necessarily, a poem or thought set to a tune. It can be the other way round – as the Beatles seems to do it, the name of the haunting Yesterday for a long time merely “Scrambled Egg”.

I also don't have the technical knowledge to understand the detailing of chord changes and keys, which MacDonald furnishes in some detail. Instead, my critical faculties shut down to an instinctive level: it's not what a song has to say but whether it pushes my buttons, making me want to dance or snog or even sit along, gazing at the sky. It's tied up in personal memories or experience – a time or place or person is attached to certain songs. It's not what the song means in itself but what it means to me.

So it's a bit of a surprise to find this book so engrossing as it searches for context and meaning in every one of the 188 Beatles recordings. We hear what the Beatles were doing or listening to at the time or thought of the songs afterwards, or what other people said or did. It's also good at explaining what marked the Beatles out as different – a good band who wrote their own very good music, and for years and years. As MacDonald says, only David Bowie has been able to so successfully reinvent himself and keep up with the times.

There's fascinating detail on the emergent drug culture of the Sixties, of the differences between the pop scene in the UK and US, and of the both competitive and supportive creative rivalries between the Beatles themselves and with other bands. It's an impressive and rich bit of modern history, the Beatles embracing so many modish styles and influences that the book covers a great wealth of ground.

MacDonald is good on the naivety and also the honest intentions behind hippy love, but is also good at puncturing the rose-tinted dream with the reality. At the Roundhouse, for example, Jimi Hendrix had his guitar stolen and gangsters on the door demanded protection money. I was also surprised by revelations – to me anyway – about the Beatles retreat at Rishikesh: it wasn't such the paradise of love that has sometimes been made out.

MacDonald tells the story song by song in order of recording – or at least, the first day of recording as some songs took several days to record, sometimes months apart while others are finished in between. There's overlap and re-recording of the same songs, and – famously – Let It Be was released after Abbey Road though (mostly) recorded first. MacDonald sums up each album as all its tracks are recorded, but I felt a little that he was imposing his own brackets on the work.

He is at his best when invisible, detailing facts or conflicting testimony, letting the Beatles and those around them speak for themselves. But I tired of hearing his own opinions, waspishly noting the worthy tracks and also the failures. I don't need him to tell me which songs to like. Indeed, part of the joy of the book is to hear the songs afresh with the added context. Constant reappraisal and finding new things to appreciate is the good bit of being a fan.

(Having listened to a lot of Beatles stuff over the last few months, the “new” tracks Free As A Bird and Real Love compare – I think – pretty well with most of the previous stuff. I know a few chums would consider this heresy.)

That imposition includes the structure of the book – and so of the Beatles' career. There are four chapters: “Going Up” is 140 pages from 1957 to the end of Rubber Soul (1965); “The Top” is 68 pages on Revolver and Sergeant Pepper; “Coming Down” is 118 pages to the recording of I, Me, Mine in early 1970; the coda covers the post-split bitterness, recriminations and Anthology.

As a result, there's a sourness about the last few and post-split years. MacDonald has many explanations for what happened: the Fabs' age, the money, the times, that they'd had a good innings anyway. And he also explains the context of the Beatles' return to favour in the pop scene in the late 80s, and their influence on so many modern bands. But his version sees the Beatles completing Sergeant Pepper and then tumbling from grace. It's far more remarkable, surely, that they sustained such an incredible output for so long, and were still producing amazing music even when they weren't speaking to each other.

The Beatles were, evidently, an exceptionally talented and influential group. This book rightly celebrates and explores that amazing success. But it also feels a little glass half-empty, disappointed and hurt, even so many years later, that all things must pass.

Lost and found (alternative take)

To the NFT last night for the annual Missing Believed Wiped – an evening of odd bits of old telly that have found their way back to the archive. I missed the 2008 event due to commitments, but blogged the one before.

As I said then, it's always an odd collection – and the appeal lies in just than incongruity. Things you'd never see together, and things you'd never seek out, make for a tantalising window to the past.

First was a short film on the Bob Monkhouse Collection – as Jonny says, in large part it seemed a collection of Monkhouse's own appearances. The some 50,000 film cans and videos are of limited appeal to the NFT because much of the programmes already exist in some form. Kaleidoscope have stepped in to manage the collection, which is fascinating as an insight into Monkhouse himself. He used the tapes as research for jokes and people he might work with, but also the mentality behind the collection says a lot in itself. The history of the collection – Monkhouse was taken to court for giving a copy of Goldfinger to Terry Wogan – also reveals a lot about archives in themselves.

This was followed by a collection of comedic bits from the early days of satellite station BSB. As Ian Greaves explained, junking of archives was still going on as late as the 1990s. The material shown in itself wasn't particularly brilliant, but showed early material from Keith Allen and Armando Ianucci – the latter probably the best of the lot.

I thought a lot more of His Lordship Entertains than Jonny did – and more readily saw the debt owed it by Fawlty Towers. The jokes came thick and fast, and there were also all kinds of jokes: word-play, slapstick, farce and character stuff. I loved the two old ladies telling filthy stories (a vacuum cleaner stops us hearing the most saucy bits), and was impressed by how many aged actors were involved. I think it was pushing beyond Up Pompeii, but I'm not sure what it was pushing towards.

Till Death Do Us Part was pretty ropey, with – as Jonny says – the best bits all Dandy Nichols as Else, who tellingly took no part in the topical bits. It was a surprisingly cheap show – all set in Alf's living room but for two brief scenes in front of blown-up photos, and with lines only for the regular cast of four. It was an uncomfortable episode too, not because of the words “coon” and “wog” so much as how much of the programme was given over to Alf's ranting. The cool kids might roll their eyes at his prejudice, but there was little in the way of counter-argument, and the last joke depends on Alf being clumsy rather than being wrong. The viewing notes expressed surprise that “some viewers actually agreed with Alf”, but the episode is all about him having his say.

Both these episodes seemed to be about the loss of the old Empire – Ronnie Barker's Lord Rustless having to open up his stately home as a hotel rather than flog it to the National Trust, Alf horrified by Britain losing it's place as a first-rate nation. But there were also lots of odd little details I loved: Rita (Una Stubbs) laquering her handbag, or having to boil a kettle to do the washing up. And Else, who lives in Wapping, has apparently never before been to Downing Street or Buckingham Palace.

(The ever-wise T. also pointed out that Mr Quill himself, Bill Burridge, is one of the non-speaking crowd at Downing Street. Frank Gatliff – Badger, butler to Barker – was obviously Ortron in The Monster of Peladon.)

Jonny didn't sit through part two of the event, which was all music from the 60s and 70s. The only extant episode of Time for Blackburn from 1968 had a very quick-edited performance by The Who of “The Magic Bus”, that made the women sat next to me dizzy. There was an odd interview with Jonathan King at a record industry do, and a plug for a “psychedelic pantomime”. But mostly it seemed a sub-Top of the Pops, with Blackburn barely bumbling along through the links, at one point explaining that he was always up himself.

We next had a selection of clips from Look! Hear!, a regional youth programme from the 1970s. The Dr almost exploded when a young, jumper-wearing “Mike” Wood introduced Black Sabbath, years before he followed in the footsteps of Alexander (mostly with his top off). There was also a glorious live performance by The Selecter, when the kids in the audience took over the stage. Somehow, a camera was ready up in the lights to look down on the action.

There were then two episodes of Top of the Pops. The first, from 1976, reminded us how old the presenters used to be, and how hokey the sets. Pans People managed to be sexist and yet not quite sexy, and we cheered at a bit of E.L.O. But mostly the music was pretty execrable – as Dick Fiddy said in between episodes, that's why we needed punk. I thought the Dr might tear her ears off during a performance by R and J Stone of “We Do It”. But the episode also ended with the Bohemian Rhapsody video. How odd to see something so familiar in context, and see just why it blew all competition from the water.

I'd forgotten how awkward the audiences always were in these things, nervously watching the cameras for their cues. But it also surprised me how multi-racial the music programmes were compared to so much other telly of the time – something I've been researching recently for a work thing.

The second episode was from 1967, in ropey black-and-white that kept coming to pieces. Fluff Freeman introduced “See Emily Play”, Pink Floyd fronted by Syd Barrett (who I thought looked a lot like Benjamin Cook). The picture flickered and snowed, the sound dropping out and then dropping back in. I'd love to see a reconstructed version, but this warped and warping effort took me right back to all those nth generation videos of old Doctor Who that made up a lot of my teenage life.

There was then a bit more warped footage from later in the episode – Ray Davies (introduced as “Dave” by Fluff), and Procul Harem's “Whiter Shade of Pale” with a lead singer dressed for no reason at all as a stereotypical Chinaman. It was sometimes a job to tell what were original video effects and what was the tape going weird, and Fluff seemed to commentate from another glacial age. How strange for a programme – and a time – to be so cool and so square all at once.

After, there was just time for a beer and to say hello to the many, many like-minded chums, but we ducked out of festivities in favour of just getting home while there were still some trains.

Courage, mon bruv

Went to see Mother Courage and her Children at the National last night, which is not – as I'd hoped – a nursery rhyme with a happy ending. Instead, Fiona Shaw tries to run a racketeering business through a never-ending war and keep her three children alive.

It's a bombastic, lively version of Berthold Brecht's play, full of his trademark interventions to remind you that you're watching a play. The stage directions are read out, and a recording of Gore Vidal summarises scenes before you see them, so there's spoilers aplenty. Whopping great signs hang from the air pointing out the names of characters and what the set's meant to look like. Before each half the technicians held the stage, getting this ready and acting as if they were. I'm also not sure the house lights were down as much as usual, so you were aware of everyone else watching.

Despite all this clever estrangement stuff, I was pretty quickly caught up in the action. Shaw is enthralling and the rest of the cast do their best to keep up. It's a funny, rude and sweary play, defiant against the unyielding misery of war.

I think I might even have read it before, or at least studied the brilliant scene where Mother Courage must pretend not to recognise her dead son or be executed herself. It's a great bit of drama: compelling because there's no easy way out, no argument that will save things. It's telling that Courage, so full of fire most of the time, here has nothing to say.

The setting is the Thirty Years War in the first half of seventeenth century, but Brecht wrote it in response to the Nazi invasion of Poland. There are plenty of Irish accents in the cast of his version, and bits of army uniform from today's conflicts, to pepper the play with contemporary relevance. It's nicely judged: the struggle to survive and even profit from war, and its terrible cost, never feel like a we're being lectured.

Partly that's the way the thing bashes along, never pausing for breath. There's not even time to applaud the songs from Duke Special that punctuate the story. At 3 hours 10 minutes – with a 20 minute interval – it's still a long play, especially for a half-man, half-orang-utan who doesn't quite fit in the £10 seats.

Wondered if they'd noticed that too, and skipped over a couple of scenes later on just to get to the end. The Dr then told me that the first preview a couple of weeks back had not had a second half – as reported in the Guardian. A play where the director comes out and explains you're only getting part one? I think Brecht would have loved that.

(Incidentally, this is blog post #850.)

Songonyms

I don't usually write about music. The whole point of music is that it's different from writing. Like a joke, the moment you start explaining it the thing doesn't work. And yet...

Some songs are very like other songs. Famously, the Hammond organ bit of Procul Harum's “A Whiter Shader of Pale” was inspired by J.S. Bach (see this archived page for much learned discussion on what and to what extent).

“La Bamba” by Richie Valens is pretty much the same tune as “Twist and Shout”, while there's more than a little of “My Way” in Bowie's “Life on Mars” – as this superb version shows. (See The Ukulele Orchestra of Great Britain website for more splendiditude.)

I also keep hearing TV themes in pop tunes. The NME has spotted that Muse's “Uprising” is a lot like Doctor Who. But S Club 7's “Reach for the Sky” is the theme tune to Duck Tales and Alexander O'Neal's “Criticize” is the theme tune to Duckula.

And then there are the lyrics. Ronan Keating's “When You Say Nothing At All” has the same message for the ladies as Joe Dolce's “Shaddap You Face”.

Any more?

The band that never existed

To the Roundhouse last night for a gig by the Radiophonic Workshop, formerly of the BBC. The tone of the night was set by the A5 flyer:

“To celebrate the 50th anniversary of this unique institution a few of the old inmates, now on day release, have put together a programme of music from the BBC Radiophonic Workshop. There will be plenty of old favourites and some new material, played by the band that never actually existed… until tonight.”

It then lists the players and their 18 synthesizers.

“Apple’s Logic Audio provides surround playback, with MainStage allowing us to use the latest virtual synths alongside the vintage hardware.”

The audience was pretty much what you’d expect: scruffy, sweaty boys lashing through the lager. I saw plenty of chums there, though me and M. were too late for the Q&A. Expect we’d have known all the answers anyway.

I did glean a few top facts from the evening. The building in Maida Vale once used by the Radiophonic Workshop is now where Jonathan Ross records Film 2009; a little, hot room right at the end of a long, long corridor. And the Roundhouse itself was built for turning trains round. (There were boards up detailing its history, with Victorian railway magnates in tall top hats, and some groovy nudity when the place was home to Oh, Calcutta!)

After some gins and a plastic pint of Becks, we squeezed into the dark mosh pit to stand for a couple of hours listening to nostalgic strange noises. In the best traditions of rock and roll, the band appeared later than billed, just as the audience were getting restless. Then there they were: Mills, Limb, Kingsland, Howell and Ayres. And – hooray! – all wearing lab coats. (Rain Rabbit has photos from the gig on Flickr.)

The Radiophonic Workshop are, of course, responsible for the odder bits in the soundtrack of our lives. They created the Doctor Who theme tune and the noise of the TARDIS coming and going. But they also produced tunes and effects for schools’ programmes, documentaries and various dramas.

It was, to be honest, a mixed bag of music, covering the enormous range of the workshop’s output. Strange, alien stuff led into jaunty, light jazz. Tunes you could sing along to followed the sound of space. The barn-owl-tastic titles to 80s computer programming show Micro Live got a big cheer from the geeks.

Between the tunes there were good-natured if geeky intros from the band-members. Kingsland explained that the Radiophonic Workshop had closed in 1997, but – being British – were “blustering on anyway”.

A lot of their stuff was painstakingly hand-made in the days before the synth. These days, as Peter Howell admitted at one point in the evening, their entire output fits on one Mac. A lot of the workshop’s work was inventing pre-recorded sounds and editing them together – all done with tape and razor blades. The gig nicely mixed the recordings with live performance. There were live versions of the regeneration from Tom Baker into Peter Davison and the theme to John Craven’s Newsround (electric guitars and drums complimenting John Baker’s pre-recorded and played-with bottle tops). The enthusiasm of and for the old duffers was what made this such fun. An entirely bizarre line-up but a great night out.

It’s not just the tunes and noises the workshop produced themselves: they were hugely influential on the wilder ends of pop. Coincidentally, tape loops featured in Saturday’s St Etienne gig, as reported by Paul Cornell.

You’ve got three days left to listen again to Night Waves where Matthew Sweet chats to the Radiophonic Workshop prior to the gig. And, if that doesn't sate you, whizzo documentary The Alchemists of Sound is up on YouTube.