The Stylistics, Truro, UK, 31st October 2007

Some of these musicians are massive, I mean American massive. One of them forces his bulk through the coffee shop holding a piece of cake and a drink, and drops his napkin. It is returned to him with the comment, ‘You may want to get a fresh one.’ He doesn’t respond, even with a glance, but collects another and sits down with his co-singers exuding the attitude of a spoilt child. Moments later, when one of the other band members asks what the cake’s like, he says, ‘It’s sum kinda baaaed sheeeit.’ He doesn’t finish it.

Who would have expected black Americans to be so precious but it’s the Health and Safety culture that’s to blame, when a perfectly good piece of cake is simply not good enough and a paper napkin that has touched the floor is a noxious thing.

On stage, the Stylistics exude professionalism and charm. The huge guys are the Style Orchestra; the Stylistics are up front in matching suits, shirts and shoes and look in pretty good shape for a band that’s been together for 39 years. They spin, step and move in perfect synchronicity, running through a set packed with old favourites for over an hour.

Playing to a packed house of dewy eyed oldsters with glowing memories of seventies discos, they’re in crowd pleasing mood. The glitter ball turns above the stage flashing beams of white light around the auditorium and everyone’s on their feet, clapping and dancing. You can just feel the lurve.

Comments

OLD JOY. Dir Kelly Reichardt. 2005

Dropout Kurt arrives in town and calls up his old friend, earnest father-to-be Mark to suggest a camping trip out in the forest, away from the city. They haven’t seen each other for some time and the film suggests a desire for intimacy as well as a quest for peace. Something of a lost soul, Kurt is emotional and, at times, to be pitied. He lives outside society, in a world of new age type retreats and travels, which seem to have left him out on the margins. In contrast, Mark has a home and a pregnant partner, and tunes his car radio in to phone-ins with much loud chat about the state of society in America but he seems only half alive. They drive out of town, with the camera as passenger, which gazes out of the car window while a gorgeous soundtrack by Yo La Tengo sets a mellow mood. The use of extended silence makes me a little uneasy; it’s hard to get away from memories of Deliverance, and a sense of apprehension. In the city, the glass of the car windows insulates us...

Ian McEwan. Amsterdam. London: QPD, 1998

McEwan’s novel about ambition, personal betrayal and revenge features Clive, a modern composer trying to complete a major orchestral work, his friend Vernon, an editor trying to save his ailing newspaper, and Garmony, an unscrupulous right-wing politician on the rise. In common, all three have, in previous years, been lovers of recently dead Molly. They meet at her funeral and the story follows the next few weeks of the men’s lives. Vernon and Clive act as one another’s conscience, each infuriating the other. Which is more important, honesty, friendship and trust or Vernon’s newspaper and Clive’s symphony? The novel presents the difficulties of balancing personal and public morality, the importance of private shame and public reputation, the conflict between taking a moral decision for the greater good, or putting first ones own desires. Not just a simple exposé of a politician with a vulnerable side, Amsterdam is full of double standards and surprises, and takes a long, cynical look a...

Ralph McTell, Truro, 19 April 2007

Ralph's mates from Pentewan have all turned up in a mini bus to hear him sing and play, and he walks onto the stage looking comfortable; he's amongst friends. He's a big man; very charismatic, with a warm smile and a beguiling aura of powerful gentleness. He's relaxed, we're relaxed, and he sits with his guitar, chatting easily between songs, and playing with an easy familiarity with us, and with his material. His guitar playing is intricate and playful; going from ragtime to blues to folk, and his voice is deep and rich. He comments that he's put together quite a serious programme for the two hours he's on stage; it's true that the lyrics are thoughtful and the subjects serious, but there is light material too; a tune about Laurel and Hardy, and one or two covers of old blues numbers. When he sings Streets of London there are happy sighs and the audience sing along very softly; as softly as a whisper. It feels as intimate as if we were just a few people...

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