Writers are too often pigeonholed because of what they choose to write about. James Joyce wrote about the world that surrounded him in Dublin. Same as Faulkner and Hemingway. John le Carre was once a spy, so it makes sense that espionage was the world around him. Working for both the British Secret Service (MI5) and the Secret Intelligence Service (MI6) gave him the recalling skill and gift of language to use to bring these darkened office worlds to life.
First and foremost, le Carre should be honored for writing literature. While spy stories are generally imbibed for their escapism, the level of intrigue le Carre could create with a broken stare or a gaze that went a microsecond too long builds tension. For a man who wanted to create, the world of “The Circus” was “trust no one” long before political thrillers borrowed that liminal trope from hardboiled detectives.
“Tinker Tailor Soldier Spy” may be too real. The rumor of placing a mole in the highest echelons of MI6 is enough for every character to change their behavior and places everyone on the chessboard. His breakthrough, “The Spy Who Came in From the Cold” (which was daring enough to print a slightly bad review on its cover), not only captured Cold War tensions but exposed a man who was so far removed from the truth, there was nothing left to believe. “The Honorable Schoolboy” captured the thirst for revenge while “The Night Manager” continued his success at exotic settings and increasingly dangerous characters one step away from blowing their cover.
In the end, that might be the largest contribution le Carre made to literature. Even the most elegant writing (and popular – he leaves us with 25 novels and one memoir that sold in total 60 million copies worldwide) cannot hide how many masks we all wear to protect ourselves at our most human.
NEW THIS WEEK
TAYLOR SWIFT
evermore [CD]
(Republic)
Happy birthday to Taylor!
Celebrate with the Grammy-nominated folklore’s sister album. Again, immaculately produced by Jack Antonoff and Bryce Dessner, Taylor finds a happy medium between the art of being in love (“Gold Rush” and “Long Story Short”) and a weird fantasy world of the lovelorn taking revenge (“Champagne Problems” and the countryish “No Body, No Crime”). The latter features HAIM, just one of the far-reaching collaborators that also includes Bon Iver and Dessner’s entire band, The National. Still, pain remains the name of the game, and Taylor always succeeds at nailing that feeling of being either the outcast or on the cusp of losing it all. The looser feeling of “evermore” is the real story here, leaving you hoping for “more” in 2021.
PAUL MCCARTNEY
III [LP/CD]
(MPL/Concord)
There have been two completely “solo” albums from Paul McCartney in his career. As signposts, they acted as divining rods for what was to come next. 1970’s “McCartney” was his proving ground that he could hold his own as a solo artist post-Beatles and continue to be a grand experimenter. 1980’s “McCartney II” was his clipping wings and embracing both new wave and the new technology that would make ‘80s music (and that technology still makes everything sound like ‘80s music). Straight out of lockdown, “McCartney III” is McCartney’s return to doing it all himself and not sanding down the rough edges (too much; he did bring in super producers Ryan Tedder and Greg Kurstin after the fact). Given the amount of technology everyone has in their hand today, place your bet on this sounding like the intimate acoustic-led moments of “McCartney” and the sheer inventive fun (“Coming Up”) and chaos (“Temporary Secretary”) of “McCartney II.”
However, to be 50 years into your solo career and still have everyone eagerly awaiting your next move … what a gift.
REISSUE OF THE WEEK
TREES
Trees (Anniversary Box) [LP/CD]
(Earth Recordings)
British folk music from the late ‘60s and early ‘70s accurately captured a world out of balance. With bands like Fairport Convention stepping away from the purists and The Incredible String Band incorporating various styles and sounds, what was once played in hushed tiny rooms became stage ready. With that transition, British folk developed into a more progressive rock sound (as opposed to American folk rock like the Byrds, which grew into straight country music). The group Trees, on their surface, made a pair of albums from 1970 to 1973 that follow the blueprint of Fairport Convention (the Sandy Denny-ish vocals of Celia Humphris and their borrowing of classic folk songs). However, with lead guitarist Barry Clarke, they became known as “acid folk.”
The five-piece band slashed folk music wide open, and they basically do everything they are supposed to do to maintain tradition on one hand before hard rock-laced multi-tracked guitars undo it all. The effect is entrancing. 1970’s “The Garden of Jane Delauney” rips the Fairport blueprint apart (check out “The Great Silkie” for a quick summation of what the voyage you are about to embark on is like), even doing a song that Fairport made famous (“She Moved Thro’ The Fair”). While their second album leans a little heavier (both in need and sound) on traditionals, “On the Shore” is Trees showing off their instrumental and arranging (“Murdoch”) prowess.
This new collection adds to it unreleased mixes, BBC sessions and several recordings from the members reuniting in 2018 as the “On the Shore” band.
“Trees” is a very necessary addition to the British folk canon as it neatly encapsulated its evolution while maintaining its dogged pursuit of traditionalism.
