'A Passenger in Time' out of print

 

Back in 2009, I self-published a novel for children called A Passenger in Time. The story was set in 2005 and involved a young teenager – Jessica Martyn – who inadvertently travels back in time to 1955 in an adventure that involves a heritage railway. Almost as soon as it was published this book (which centred on the vagaries of time) became a victim of the real-life passage of time. In 2005, the central character Jessica did not have access to a smart phone but only a basic ‘flip phone’ while her younger brother, (with Spotify a decade away,) listened to his iTunes music on an MP3 player. Both devices play a role in the plot so, sixteen years post-publication, Jessica’s ‘present day’ of the 2000s would seem as odd and antiquated to today's children as the 1950s seemed to Jessica.

This problem (of the present dating as much as the past) was less of an issue for authors of earlier time travel books. Philippa Pearce’s classic Tom's Midnight Garden, for example, was published in the 1950s and involved time travel back to the 1880s but the technology is broadly the same in the book’s 'past' as it is in the book’s 'present.' Whether it's 1885 or 1955, railways use steam locomotives, telephones are not portable.

In 2010, I created this blog – Passengers in Time – partly to promote my book (and other books) and also to explore my other interest of music. That’s why the blog has the semi-serious ‘strapline’ adventures with books, music and time travel. Over the past fifteen years I’ve continued to blog about music and books that I like books and, less often, ‘time travel’ (by which I mean real-life travel often combined with a feeling of nostalgia, rather than – sorry to disappoint – actual time travel.) The blog moved on while the book that started it became more and more forgotten (by me, as much as by any potential readers.) The longevity of the book wasn’t helped by the publisher going out of business in 2016. As it was only ever available on print-on-demand, the publisher’s demise meant the handful of printed copies I held were the only ones available (apart from those that could be borrowed from public libraries and the copy held in the good old British Library.) A few kind friends and readers had suggested I republish it but, for all the reasons above, I felt it was something that had dated and was best left as a thing of the past.

I had all but forgotten about A Passenger in Time. And then, a few weeks ago, I performed at a folk club and was surprised when the host introduced me as ‘Tony Gillam – a singer-songwriter and writer,’ and went on to announce, ‘Tony is the author of a time travel novel involving steam railways...’ I’ve never had A Passenger in Time referred to at any of my musical performances and I wasn’t sure what the audience would make of it. I wasn’t sure what I made of it, to be honest.

The upshot of this mention of the book to the folk club audience was that, the following day, I received two enquiries from people who wanted to buy a copy. And the upshot of this unexpected level of interest was that, after sixteen years, no more copies of the book remain. A Passenger in Time is now, well and truly, out of print. The end of an era.

And what does this all tell me? First, that it might be possible to find a readership for my books in the audiences at my gigs. Second, it’s high time I got on and wrote another book.

Radiating thoughtful beauty - Yosef Gutman’s 'Resisei Lyla' reviewed

I’ve been an enthusiastic follower of Yosef Gutman’s music since I reviewed his album Soul Song in 2023 (a collaboration with his friend, guitarist Lionel Loueke.) Gutman has an impressive stream of releases to his name – a dozen albums over the past seven years.

For those unfamiliar with Gutman, he was born in South Africa and grew up listening to American jazz fusion. Inspired by the music of Weather Report's Jaco Pastorius he put down his skateboard and took up bass guitar, winning a scholarship to study at Boston’s Berklee College of Music. He relocated to New York where, for many years, he was part of the city’s jazz scene and then, in 2009, he emigrated to Israel, taking a long hiatus from music.

By 2018 he had returned to music, using his five-string acoustic bass guitar to become both a prolific recording artist and the curator of Soul Song Records, a label Gutman founded to promote "modest, soulful music that radiates a thoughtful beauty." According to his website, the label “focuses on encouraging artists to create honest, improvised, and inspired music, regardless of religious background.” In some ways, for me, Soul Song Records fills the space once occupied by Wyndham Hill Records – an amazing community of musicians releasing instrumental music which is hard to classify but always life-enhancing. Some of Gutman’s albums are largely improvisational, others more composed - but they are always played exquisitely, with originality and verve, by a trusted team of musical collaborators.

As expected – based on Gutman’s previous albums – the latest release, Resisei Lyla, is a thing of great beauty, with Omri Mor (piano), Yoed Nir (cello), Itamar Doari (percussion) and Tal Yahalom (guitar) blending with Gutman’s acoustic bass guitar and double bass. Levitt sometimes plays surprising melody lines high on the extra top string of his bass, while Doari’s percussion is always subtle but perfectly judged. The simple act of putting this record on the turntable brings a big smile to my face but it’s also rewarding and fascinating to watch the videos of the studio recordings as a masterclass in how a group of musicians can play so instinctively and sympathetically together.

The music shifts effortlessly between traditional folk-like themes to jazzier excursions, often settling into a meditative mood. Most of the tracks are original Gutman compositions, and the album ends with an unplanned solo version of a traditional Moroccan tune from pianist Mor. Resisei Lyla is a deeply soulful, transformative and restorative journey. This album provides much-needed balm in a troubled world and Gutman has certainly succeeded in his mission to  create “soulful music that radiates a thoughtful beauty.”   

Resisei Lyla is released January 2026, available on LP/CD/DL from Soul Song Records.

My top ten albums of 2025

Summers & Silvova's
How To Raise the Wind

As the new year begins it’s a good time to reflect back on all the great new music that appeared in 2025. The past twelve months saw the release of a cavalcade of stunning new albums, from the driving Zamrock of WITCH’s Sogolo to the meditative songwriting of Robin Adam’s The Beggar, through to innovative debuts like Kyson Point’s Underwater Sky and Anna Ling’s Light.

From Scandinavia came two vastly different offerings. The Norway-based Scottish/Finnish pairing of Sarah-Jane Summers & Juhani Silvova released How To Raise the Wind. This constantly-evolving duo take elements of Scottish and Norwegian folk, jazz and even a touch of Stravinsky to create a kind of groovy chamber music. Meanwhile, a darker side of Scandinavia is represented by the dark-folk of Wardruna. Their sound has become more expansive since 2021’s Kvitravn and, with Birna, we were taken on a journey into the world of the Old Norse she-bear. The result, which includes an all-female choir and the sound of ‘singing ice’ is immersive and remarkable.

(You can read my interview with Warduna’s Einar Selvik about the making of Birna here.)

Filkin's Drift's Glan

For sheer, gorgeous musicianship, we had Flook’s Sanju (a beautiful blending of flutes, guitar and bodhran.) Flook celebrated thirty years of music-making in 2025. With a similarly pristine sound – and using just fiddle and guitar – the duo Filkin’s Drift brought us Glan, a delicate album of Welsh folk songs and traditional English dance tunes. 

On the singer-songwriter front, 2025 brought us Gabriel Moreno’s consummate Nights in the Belly of Bohemia – a poetic marvel of an album, with songs that haunt and enthral. 

(You can read my full review of Gabriel Moreno's Nights in the Belly of Bohemia here.)

Anna Ling's Light

While I’ve long been an admirer of Gabriel Moreno, Scottish singer-songwriter Robin Adams was a new name to me. I was intrigued to learn Robin is the son of Chris and Pauline Adams (of one of my favourite 1970s folk-rock bands String Driven Thing.) Unlike his parents’ band, Robin’s music is quiet and reflective – unsurprisingly, since it deals with themes of bereavement and a slow recovery from a chronic illness. Robin’s vocal evokes something of John Martyn and other singer-songwriters of the 1970s. The beautiful songs on The Beggar reward repeated listening and deserve a wider audience.

Other corners of the UK produced some unexpected gems: from Devon we had singer-composer Anna Ling’s highly imaginative Light while, from Suffolk, the duo Kyson Point’s debut Underwater Sky featured accessible and memorable songs providing solace and hope.

WITCH's Sogolo

Veteran purveyors of Zambia’s Zamrock sound WITCH surprised us with another joyful and varied mix of psych-rock and afrobeat (with occasional echoes of Giorgio Moroder.) WITCH’s album Sogolo made most contemporary rock music sound tired and unimaginative. Finally, traditional Guinean music and Mandingo jazz were blended wonderfully in the music of Kaabi Kouyaté – an epic voice against a background of virtuosic musicians, fusing griotic tradition with contemporary music in Tribute to Kandia. 

I admit this is a very eclectic and subjective selection of my personal top ten albums of 2025 but I hope it introduces you to something you might have overlooked. For those of you who haven’t fallen out completely with Spotify I’ve even compiled an accompanying Spotify playlist that you can listen to here. 

So, in summary, here’s my Top Ten, with thanks and deep gratitude to all the amazing artists involved. Please support them by buying their music and seeing them live if you get the chance.

Okay, cue ‘Pick of the Pops’ music...

1. Gabriel Moreno – Nights in the Belly of Bohemia
2. WITCH – Sogolo
3. Wardruna – Birna
4. Kaabi Kouyaté – Tribute to Kandia 
5. Kyson Point – Underwater Sky
6. Anna Ling – Light
7. Robin Adams – The Beggar
8. Filkin’s Drift – Glan
9. Flook – Sanju
10. Sarah-Jane Summers & Juhani Silvola – How to Raise the Wind