This Week I Have Been Mostly Listening To... JAZZ FM

Growing up, my grandfather was a jazz musician and my Dad always played soul music so it was almost inevitable that I would one day discover Jazz music and Jazz FM. 

It was November of 2024 when seeking some new sounds, I came across the RAYO app which offers a selection of podcasts, playlists, archives and live radio. I clicked randomly on Jazz FM and I don't think I've been the same since!  Having some trepidation to start with, I immediately thought of that classic The Fast Show sketch, and I half expected an old fuzzy static sound of some smokey-voiced DJ playing Miles Davis, Ella Fitzgerald, and Nina Simone. The station features some of those artists obviously but what surprised me is the utter abundance of new jazz from the UK and around the world this station delivers in bucket loads.

Since November of 2024, I've discovered The Ezra Collective, Mama Terra, and Lady Blackbird in new sounds, acid jazz, chilled jazz, Gill Scott Heron, and Etta James, plus uber cool DJs Danielle Perry and Simon Phillips, to mention a few. Early mornings or late evenings, you can pretty much tune in at any time to find a plethora of new sounds and if live radio isn't your thing, check out the RAYO app. As they used to say on The Fast Show...Nice!, Great!

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BOOK REVIEW - 'Shuggie Bain' - 2020 Booker Prize That Hurt My Eyes!

words by @rybazoxo 

2020 was a year that none of us will ever forget. After I saw Morrissey in Leeds in March of that year, the world decided to close, and lockdown. We were all then subjected to, and brutalised by, face masks, vaccinations, mass-media hysteria and erm…death. All very grim. What I didn't notice in that year, and I'd be surprised if anybody did, was the 2020 Booker Prize handed to Douglas Stuart for his debut novel, ‘Shuggie Bain’. It wasn’t until late last year that, scouring a charity shop for books, I picked this one up for 50p and thought I'd give it a whirl. 

A disclaimer at this point would be that I normally don't read fiction. I'm autistic, so fiction isn't real, and I normally stay clear, preferring biographies, true crime stories and memoirs. However, I read all the praise about this Scottish 1980s set melodrama / coming-of-age drama/alcohol abuse drama and enthusiastically began reading. At over 400 pages, it's not a short one but I thought it was worth it. I mean, a booker prize has got to be good, right? Well, not quite. The first 150 - 200 pages of this book are really good. You route for young Shuggie as he battles with his alcoholic mother (I’ll get back to that shortly), his problematic siblings, his absent father, his blatant homosexuality, and living with his grandparents - all against a backdrop of council estate poverty and Thatcherite policies. 

1980s Glasgow. Image by Raymond Depardon

Where Douglas paints a perfect picture of a grim Scotland (I've never been but read about it) and has strong characterisation, he lacks any fleshing-out of the coming-of-age of the book's main protagonist. This book should be called ‘Agnes Bain’ (Shuggie’s Mum) as she is the main character in this book. Agnes battles booze throughout the novel, and every alcoholism cliche you can think of, including with the wrong men,  only to meet her maker at the end, is by and large, rather disappointing. I thought this was going to be some sort of ‘good outweighs the bad’ kind of book - it is not. Shuggie’s character comes good at the beginning and middle but that's it. 

1980s Glasgow. Image by Raymond Depardon

The end of the story has no real conclusion and the last chapter (there are 30 altogether) introduces another character’s alcoholic mother which just regurgitates content. It's a shame as this could have been a good book, and I think 200 pages would have done it and still won the prize. But, rather like COVID-19, this book was very grim, went on for far too long, and I was so glad when it ended. 

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Morrissey's Autobiography : After 12 years, Is It Time For A Sequel?

 

When Autobiography was published in 2013 as a Penguin Classics edition—a distinction usually reserved for long-dead literary greats—it sparked immediate debate. Was it an act of self-indulgence or a well-earned nod to Morrissey's undisputable cultural impact? I remember first reading this sat on a Sheffield tram in the cold winter of that year. Twelve years have passed yet this book has never left my bookcase. During the Winter of 2024, while the rest of the world ate turkey and tinsel, I revisited the book to write a review. Another two months have passed, so here it is. My idol is Morrissey, and I also read like an obsessive librarian, so I thought I'd combine the two and try (once again) to write a book blog. Let me know what you think in the comments box!

There's More To Life Than Books You Know!

From the outset, Autobiography reads unlike any standard memoir. Morrissey’s writing style is as florid and grandiose as his lyrics, overflowing with poetic turns of phrase, obscure references, and sharp humour. His sentences stretch for paragraphs, and his storytelling often lacks conventional structure. It makes for a rich, if sometimes exhausting, reading experience. At times, his prose is breathtakingly beautiful; at others, it veers into self-parody (very similar to his solo work, I feel)

Manchester, you have a lot to answer for!

The book begins with an evocative account of his childhood in 1960s and 1970s Manchester, (think 'The Headmasters Ritual) a city he describes as grey, oppressive, and joyless - "the arse of the world" he once sang. His depictions of corporal punishment in Catholic school, and a violent neighbourhood, describe a generally stifling existence. Yet there is a dark romance in his descriptions, often like these lyrics, he finds beauty in the melancholy - a trait he certainly cashed in on in The Smiths and his solo career. As you can expect for someone who wears his cultural icons on his sleeve - Music and film serve as his escape routes, and he writes movingly about the impact of artists like the New York Dolls, and Patti Smith, and his early fascination with legendary playwright (and Morrissey Iconography image N0.1) Oscar Wilde.

The Smiths: I Won't Share You...

Naturally, Autobiography dedicates considerable space to The Smiths, the band that made Morrissey a household name. His descriptions of meeting Johnny Marr and their creative partnership are joyous at times and seem filled with a sense of destiny. In terms of music history, it's a 'When Lennon Met McCartney' moment. But Morrissey seems unable to celebrate The Smiths without simultaneously mourning their dissolution and cataloguing how he feels wronged. The legal battle over royalties, which saw drummer Mike Joyce successfully sue Morrissey and Marr, is recounted in excruciating detail. While his bitterness is understandable, his obsessive resentment towards Joyce and the legal system feels excessive, dragging down an otherwise exhilarating chapter of the book - 'I bear more grudges than lonely high-court judges' he once sang.

Morrissey Solo Career...

Morrissey’s solo career, which he sometimes frames as a battle for survival, is covered in a more fragmented way. He highlights the successes, like Viva Hate and You Are the Quarry, but also dwells on his struggles with the music industry, dismissive critics, and perceived betrayals. His clashes with record labels, the press, and former associates reinforce his image as a misunderstood, embattled figure. The insight into his songwriting process is rather inspiring.

It's Not Like Any Other Love...

One of the more surprising elements of this book is Morrissey’s candid discussion of his relationships, an aspect of his life he long kept private. He details significant romantic connections, particularly his relationship with photographer Jake Walters. This revelation complicates his long-maintained aura of celibacy and ambiguity, making it one of the book’s most intriguing aspects.

Autobiography is a book that, like its author, refuses to conform. It is brilliant in places, insufferable in others, but always compelling. Morrissey’s storytelling is evocative and often hilarious. For fans, the book is essential reading, offering deep insight into his psyche and creative world. Love him (like I do) or loathe him (like everybody else does) Autobiography ensures that his legacy—flawed, fascinating, and fiercely individual—will endure.

Twelve years after its publication Morrissey's solo career is still going strong. He's also just announced another USA tour.  I would love to see an update to his Autobiography, as Morrissey's career has been just as dramatic these past twelve years.,

My next Morrissey book to re-review is List Of The Lost

Words by @rybazoxo

www.ryanoxleywriter.blogspot.com 

Beatles '64 - I'm a huge The Beatles fan! Is this worth a watch?

I loved The Beatles' Disney + epic 'Get Back' and was delighted to finally watch the latest resurgence of archive Beatles films, 'Beatles 64,' directed by Martin Scorsese. 

The film tells the story of the 'Fab Four' arriving in the States for a 2-week cultural tour (between 19th August and 20th September 1964) with a selection of talking heads who lived it, including archive gig footage. The real gem for any true hardcore Beatles fan is the 1964  backstage film of the band relaxing in a USA hotel ( it looks like a hotel scene from 'A Hard Day's Night) that has remained unseen until now. This 1964 footage (although directed by Scorsese) was filmed by two brothers who followed the band around America on their first stateside trip, capturing this magnificent music history for prosperity and Disney+ subscribers!!

Modern-day accounts of The Beatles hey-days come from an ageing Paul McCartney (who also shows off his 1964 photo collection) and Ringo Starr, interspersed with archive John Lennon and George Harrison interviews. The film also features an impressive collection of famous fans as Scorsese films chat with Smokey Robinson, Ronnie Spector, and David Lynch. Following the band to Washington, we get to see them debut on the Ed Sullivan Show with some live footage of that gig and watch John Lennon in a 1970s interview, one which I'd never seen before. It's a fantastic collection of footage - the film also tells the story of America's cultural resurgence, following the assassination of JFK at the end of '63. The Beatle's arrival in New York is seen as the awakening of a country coming out of collective mourning. 

As someone who's watched countless 'The Beatles' interviews, books and cinema, I was incredibly impressed by this film and felt I'd learned more about my favourite band. I've also discovered that Scorses' directed a George Harrison film called 'Living In The Material World' -that's my next watch! 

Words by @rybazoxo 

www.ryanoxleywriter.blogspot.com 

Why Do I Hate Christmas?

Words by Ryan Oxley 

As the firework displays fizzle out and the embers of bonfires turn to ashes, my thoughts turn to what is, for me, the worst time of the year: Christmas. 

For some, it’s "the most wonderful time of the year", while for others like me, it’s a period marked by stress, anxiety, and an utter dislike, make that disdain, for this awful tinsel fuelled festival of crap. There are many reasons why Christmas makes me feel less joyful and more burdensome, from the pressures of consumerism to the emotional toll of social expectations. Here’s why Christmas, a seemingly cheerful holiday, fills me with insipid dread.

First and foremost, Christmas is inextricably linked to commercialism. Let's not pretend this is a season of anything but. The holiday is promoted as a time of giving, yet this “giving” often translates into excessive shopping, overspending, and an overwhelming focus on material goods. Every shop is stocked with holiday merchandise by October, and sales, ads, and jingles urging people to buy and buy more permeate every corner of public life. For many, this overt consumerism turns the holiday into a financial burden. Christmas loses its meaning when it becomes more about flashy gifts than genuine connection, leaving some feeling that their worth is tied to what they can buy rather than the love they can share. It’s hard to feel any holiday spirit when the season seems more dedicated to corporate profits than religious goodwill. I'm not religious either which just adds to the ad nauseam. 

Then there’s the societal pressure to be constantly joyous and social. Christmas can feel like a relentless marathon of social gatherings, office parties, family dinners, and community events. The expectation is that everyone must feel festive, participate in traditions, and engage in cheerful celebrations, regardless of personal circumstances. But not everyone can easily summon holiday cheer. For those (like me) who are introverted, struggle with social anxiety, or simply don’t enjoy crowds (people or relatives), the endless social events and gatherings can feel exhausting and invasive. The pressure to "enjoy the season" creates a burden of emotional labour that feels forced and can even lead to guilt when one doesn’t feel festive.

Family dynamics during the holiday season add another layer of complexity. Christmas is often painted as a time of family togetherness, but that idealized image doesn't always align with reality. For me, family gatherings can be strained, bringing unresolved conflicts, tension, and uncomfortable interactions to the surface. Dysfunctional family relationships can feel amplified under the guise of “holiday togetherness,” making spending time with family seem more like an obligation than a celebration. And for those who have lost loved ones, Christmas can be a reminder of absence rather than togetherness, highlighting feelings of loneliness and grief. Rather than feeling surrounded by love, people may feel isolated and disconnected during the holidays.

The Christmas demand on time and energy can also be overwhelming: holiday events, decorating, gift wrapping, cooking, and hosting can take a toll, especially on those who shoulder most of the responsibility. There’s a myth that Christmas should be a “magical” time, but the reality is that creating magic requires a lot of work. Those tasked with making Christmas “perfect” often feel undervalued and exhausted, struggling to find their joy in the process.

For those who don’t observe Christmas due to different religious beliefs or cultural backgrounds, the holiday season can feel like a time of exclusion. Christmas dominates public spaces, media, and social conversations, often sidelining other winter traditions. For these individuals, the holiday can feel intrusive, a constant reminder of being different or feeling outside the mainstream.

Ultimately, Christmas can seem like a paradox: a season dedicated to joy, yet rife with stressors that can make it difficult to enjoy. For me, it’s a period I’d rather skip, looking forward to Jools Holland, the countdown clock, and the blank page of a new year. It’s important to remember then, despite societal pressures, no one is obligated to feel festive— and if anything like me, dress the dread up in nonchalant dismissal and ignore the sorry farce altogether. Why Do I Hate Christmas? Read All Of The Above. 

And... I've not even mentioned the god-awful music - I'll save that for another post. 

www.ryanoxleywriter.blogspot.com 

GIG REVIEW ll RYAN ADAMS ll SHEFFIELD CITY HALL ll 24/09/24

Words by Ryan Oxley 

Sat in the third row at the front of the stage, the 75% capacity Sheffield City Hall (this was a Tuesday night) seemed eager to applaud Americana singer/songwriter Ryan Adams, who was due on stage at 20:00. As the lights dimmed at 20.05, and I've been a fan of his for 20 years, my excitement was palpable at my first time seeing him live. It was a solo show, so I expected this to be a Ryan Adams plus guitars show. 

 I wasn't expecting a piano, a coat rack, or dim lights, which gave the evening a cabaret club feel. Sat within a metre of two of the ‘Gimme Something Good’ tunesmith, I had a perfect seat, but I did feel for those who would have sat much further back, the atmosphere (just like the guitars) wasn't electric - it was dark and in more ways than one. Ryan Adams seemed self-deprecating, dour and came across as arrogant.

Although his eclectic back catalogue and demonstratable music talent were present tonight, the eagerness of the audience virtually disappeared about three songs into the set-list, when Adams stopped the show to complain about camera phones, and their flashes ruining his concentration. 

Although billed as a 3-hour 30-song show, which he did complete, he threatened to call the show off earlier if the cameras continued flashing, so the audience seemed to cool, although the atmosphere did not. Ryan had guitar tech ‘Drew’ and a lightning guy - that was it. When the music flowed, you could have heard a pin drop. However, at times he appeared distracted, had his back to the audience when on piano, and even singled out a fan, whom he called a ''douchebag'' for taking some film of one of his songs; ‘'It’s (the footage) is for a friend who couldn't make the gig tonight’' said the fan, but Ryan was not amused. 

He (Ryan) spoke candidly in between songs about depression and sobriety, which is perfectly fine ( I think I misconstrued the self-deprecation for that) but being sat so close whilst he chastised fans was seriously awkward. 

Calling the interval early, Ryan came back on stage in a markedly different disposition and gave an incredible second half of the show, delving into his mighty back catalogue and showcasing talent, yet the atmosphere remained remarkably dour. 

I'd waited 20 years for this gig and paid £70 for the pleasure, all whilst sat at the front, but had I been sat further back? I would have probably left earlier, and unlike Ryan Adams, I would have meant it. 

Ryan Adams is still on tour 

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Have you seen a brilliant artist who was also a bit of a douchebag? 

Let me know in the comments section.