I have just returned for a warm, sunny and relaxing week in Spain and since stepping off the 'plane at Newcastle International Airport, I have struggled to get warm. May is only two days away yet it feels more like December. Only a month ago we were all bemoaning the lack of rainfall and the potential hosepipe bans in some parts of the country. Now those same parts are experiencing flood warnings. Weird!
Anyway, on my recent travels I stopped off at a sea front restaurant for a sample of the local cuisine and couldn't help overhearing a conversation at the neighbouring establishment which was clearly run by an English couple. The woman communicated with any 'foreign' customers by speaking to them slowly and loudly. Two German ladies were obviously having the 'Menu del Dia' and when the time came for them to select their sweet, the proprietor loudly and clearly enunciating every word, offered them a choice of ice cream, flan or coffee.
One of the two customers understood and decided to translate for her puzzled looking companion as follows:- "Eis, flan or cafe."
If, like me, you are of a certain age, you will remember the precocious 10 year old Gerald Bostock who wrote a poem which ultimately provided the lyrics to the Jethro Tull album 'Thick As A Brick'.
Of course in reality Bostock never existed and the concept was the brainchild of Tull frontman, Ian Anderson. Weary of hearing Jethro Tull referred to as a progressive band, Anderson decided in 1972 to create the mother of all progressive albums. 'Thick As A Brick' was the result and consisted of one piece of music split over two sides of an LP record. It was Anderson's attempt at sending up the pretentious concept albums that were being offered up by other progressive bands of the time such as Yes, Genesis and Emerson, Lake & Palmer. In actual fact, the album was actually quite good though I must say that I played the first side of the album far more than the second side. Perhaps 20 minutes of such stuff was sufficient. Anyway it proved to be popular as the album was a huge success on both sides of the Atlantic and Jethro Tull performed the complete album to packed audiences for about a year after its release. Sections of it have also been played regularly in concerts by Jethro Tull and Ian Anderson ever since.
Although 'prog rock' has taken something of a critical battering in the years since the mid 70's, April 3rd 2012 saw the release of the son of 'Thick As A Brick', 'TAAB2' in which Anderson imagines what may have happened to the life of Gerald Bostock in the intervening years. As Anderson himself explains, the album came about through the encouragement of record executive Derek Shulman. If that name sounds familiar to you that will be because Shulman was the lead singer of another rather fine 'prog rock' band, Gentle Giant.
Anderson duly went away and wrote the new album focusing on the various twists and turns that life throws at us and the decisions we make. In so doing, I think he has created a work that may make us baby boomers think about our own lives past. To quote the lyrics, the 'What ifs, maybes and might have beens.' Notwithstanding that, I believe that if you enjoy the work of Ian Anderson or Jethro Tull, or you liked the original album then 'TAAB2' is well worth a listen. Featuring Anderson mainly on acoustic guitar, there are of course examples of his trademark flute playing.
The opening track 'From a Pebble Thrown' fades in with a theme which will be familiar to those who know the original work and this is a recurring motif, linking the original with the new version. Like Bruce Springsteen's recent offering, Anderson takes a pop at everybody's current favourite target - the bankers (Banker Bets, Banker Wins) but he also deals with subjects such as war ('Wooton Bassett Town') and religion ('Give Till It Hurts'). Musically the songs swing from soft ballads to hard rocking band workouts - sometimes within the same song, 'Swing It Far' for example.
Given the current penchant for listening to music in small bites, I wonder how successful this album will be. Although, unlike the original 'Thick as a Brick', this album is made up of seventeen individual tracks, I would encourage anyone to set aside 54 minutes of their time to listen to it from start to finish. The time and effort should be worth it. This could be Anderson's best work for many years and I suspect I may be playing the complete album even more than I did the original.
Following my last posting on this subject (see 10 April 2012), we have had another weekend of Premier League shenanigans what with goals that shouldn't have been and penalties that should or shouldn't have been, depending upon which team you follow.
I don't think that anyone could claim that the decision to award Chelsea's second goal was a correct one. Even Chelsea skipper John Terry who perhaps had the best view of all, acknowledged this.
The other contentious decision of the weekend was whether referee Mark Halsey was right to award Manchester United a penalty when Ashley Young "fell" in the Aston Villa penalty area. On this matter, opinion seems to be divided, though even Sir Alex Ferguson acknowledged that Young went to ground too easily.
So once again there are arguments for technology to be used and I can only reiterate my previous views that something has to be done to improve the standard of officialdom and stamp out blatant cheating.
Ashley Young is now in danger of getting a reputation for diving, something that can work both for and against his team. Ronaldo quite rightly gained just such a reputation but this led to occasions when he should have genuinely been awarded a penalty, but wasn't because of that reputation.
Anyway, should Young become a laughing stock in the Premiership, it seems that other opportunities are becoming available. James Cameron is making a sequel to 'Titanic' and is seeking divers prepared to go 12,000 feet below the surface to where the wreck lies.
Ashley Young has been nominated for the role.
Here is Young getting ready for his next role (or his next match).
However, Professional Footballers' Association chairman Clarke Carlisle does not believe
Ashley Young is a diver but says players need to be more honest.
So there, it's official!
Last night I took advantage of the rare opportunity to enjoy Dave Alvin & The Guilty Ones at The Cluny, a small music venue on the outskirts of Newcastle upon Tyne. I say a rare opportunity because Alvin is an infrequent visitor to these shores (his last visit was six years ago) and by his own admission he has never before performed in Newcastle.
Our evening started in the Cumberland in Byker with a couple of pints of Dognobbler, a Wylam ale we had discovered in the Lion & Lamb in Horsley while walking between Wylam and Prudhoe a couple of weeks ago. Then we moved on to the Cluny bar where all of the guest ales had a Titanic theme to commemorate the sinking 100 years ago. As we sampled 'Maiden Voyage' there were cracks along the lines of "I could sink a few of these" and "This is going down well." Time, we thought to show our tickets and move through to the venue.
We were in time to catch the local rockabilly support act, The Sour Mash Trio. A good energetic performance from them but rockabilly is not really my thing so on to the main event.
Dave Alvin formed The Blasters with his elder brother Phil in 1979 however after five albums he left The Blasters and joined X as lead guitarist. The first album under his own name was released in 1987 and he has been releasing albums regularly ever since as well as establishing a great reputation for live performance.
With Alvin having been backed in the past by The Guilty Men and The Guilty Women, the Newcastle crowd were entertained by The Guilty Ones consisting of very fine guitarist (All Killer, No Filler) Chris Miller, Lou Whitney on Fender bass and Guilty Woman, Lisa Pankratz on drums. Among the songs performed were 'Harlan County Line', 'Johnny Ace Is Dead' and 'Every Night About This Time'. The band also gave us a great version of 'Long White Cadillac' a Blasters song made famous by Dwight Yoakam and a song called 'Black Rose of Texas' which is about and dedicated to Amy Farris a former member of The Guilty Women who committed suicide in 2009.
Mixing shuffling blues, alt country Americana and stomping rockers, the band thrilled the already enthusiastic crowd who gave a great ovation to Lisa Pankratz for her drum solo. You will already know my opinion on drum solos (see 1 April 2012) and I was about to head to the bar but was restrained by one of my mates. I'm glad I stuck it out as the solo was superb and lasted only about two minutes. That's the way drum solos should be!
When I consider how much I have paid to see some acts, the 15 quid (that's 15 English pounds) was an absolute bargain to witness such talent. From the reaction of the crowd, my feelings were shared. I hope Mr Alvin will not leave it too long before his next visit.
Released from his major label contract, Seth Lakeman has struck out quite literally on his own. Recorded in a cooperage and in a disused copper mine utilising one microphone, the album features Lakeman not only singing every note but also playing all the instruments as well as producing the album himself. Originally released in very limited numbers last year, the album has now been given a broader release with an accompanying DVD.
'Blacksmith's Prayer' begins and ends with the rhythm of a smith's hammer striking an anvil while the following track The Watchmaker's Rhyme' opens with percussion simulating the ticking of a clock. Fortunately, such hackneyed ideas are not overused and do not detract from the quality of the songs. Nor does the album consist of all upbeat songs to the resounding beat of a hammer. 'The Sender' is a lyrical love ballad and is followed by the beautiful 'Salt From Our Veins.'
Throughout the album, Lakeman's voice is strong and clear and of course his trademark fiddle playing is as sharp as ever.
Most of these songs tell tales of West Country craftsmen, so perhaps this is Lakeman's testimony to dying trades. One thing is clear, he still has much to offer in his own chosen profession.
Well that's the first English Bank Holiday of the year over and done with and a pivotal one it was in terms of the race for the English Football Premier League. Nothing decided yet in terms of relegation but for the title, what has for some time been a two horse race is rapidly becoming a one horse race.
(I pause here for a rather smug smile).
My main concern after watching the games of both Manchester clubs on Sunday, is for the future of our beloved game. Why am I concerned you might ask? Even if you aren't asking, I will tell you anyway.
1. The standard of refereeing is atrocious.
2. If something isn't done to stamp out blatant cheating, the game is in danger of becoming a farce.
Regarding my first point there have been numerous examples over the past 2 or 3 years, however I will use one that is topical. Should Manchester United have been awarded a penalty against Queens Park Rangers (QPR) and should the QPR captain, Shaun Derry have been sent off? The answer to both questions is a resounding NO!
You may assume that I am saying that, because Derry did not foul Ashley Young and/or Young dived to con the referee. However you would be wrong. I am saying it because Young was clearly in an offside position when the ball was played through to him and therefore QPR should have been awarded a free kick and none of the following events would have taken place. I admit that had justice been done, Stan Collymore would have had nothing to rant about for the next forty five minutes, but perhaps the game would have been a better one for the spectators.
With the amount of money in top class football these days, I simply do not understand why such shoddy officialdom is tolerated. Surely it is now time to consider utilising the available technology to assist referees in making such decisions. I acknowledge that officials have a difficult job so let's give them all the available help we can. I also acknowledge that players do not make the job of the officials any easier and that brings me to my second point.
More and more players have started resorting to blatant cheating in recent years. We will all have seen examples of players falling to the ground as if they had been shot, when little or no contact has been made. Again I will use recent examples.
When Newcastle United played Liverpool a week ago the Newcastle player James Perch unfairly challenged Liverpool 'keeper Jose Reina who reacted angrily by thrusting his forehead into the face of Perch. I have seen the incident several times and little contact was made yet Perch fell to the floor like a sack of spuds clutching his face in apparent agony. Reina was quite rightly shown a red card but Perch received a yellow only for his unfair challenge. For his theatrical fall, he received no punishment. Unfair I say and in case my friends who support Newcastle feel I am being unfair to their team let me also say that the even more ridiculous dive by Andy Carroll to try to win a penalty, should in my opinion have warranted a red card - not just the yellow he received. Of course at the moment referees do not have the authority to send a player off for such behaviour. Well, for the sake of our game, let's give it to them.
I referred in an earlier post (see 31st March) to Electric Eden by Rob Young a book which I was enjoying at the time though I was not yet half way through completing it. Well, now I have!
Subtitled 'Unearthing Britain's Visionary Music', the book is essentially a chronological trip through British folk music in the 20th century. Beginning with a chapter describing the eighteen month 1960's journey of Vashti Bunyan towards a remote Scottish Island in search of her own Utopia, the 600+ page book takes us through the early 20th century composers such as Ralph Vaughan Williams and Gustav Holst who were both clearly influenced by traditional English music, Then the author takes us onward to the emerging folk clubs of the 50's and 60's.
This for me was the most interesting part of the book as we reach the point where I first developed an interest in British folk music as opposed to the American folk tradition of people like Woody Guthrie, Pete Seeger and Bob Dylan. Rob Young delves into the lives and careers of The Incredible String Band, Fairport Convention, Sandy Denny, John Martyn, Pentangle, Bert Jansch, Nick Drake, Dr Strangely Strange, Steeleye Span, Richard (& Linda) Thompson and more.
Of less interest to me personally are the sections where the author investigates the links between traditional music and the occult or paganism. However, this is a personal point of view and doesn't detract from the fact that the book is well researched (although there are factual errors) and well written.
There have been other works that have covered similar territory (i.e. The Electric Muse') but this book covers some previously unexplored areas by taking the reader into the folky influences prevalent in the 80's and 90's. As examples, the author cites the works of Kate Bush and perhaps more surprisingly, Talk Talk. I say more surprisingly as the majority of people will be most familiar with Talk Talk's 'hits' such as 'It's My Life' and 'Dum Dum Girl', about as far removed from traditional English folk music as you can get. However, those like me, who stuck with Talk Talk through their final two albums 'Sprit of Eden' and 'Laughing Stock' will have been rewarded with superb works clearly influenced by the spirit of pastoral England and the works of Vaughan Williams.
All in all I would say that if you have an interest in British folk music or any or the artists mentioned above, this book is well worth reading.
It seems to be the same every time the schools are on holiday. Despite the ridiculous price of fuel, there is more and more traffic on the road during the day time - I really don't know where they all come from. Consequently all my car journeys take longer.
Anyway I seem to have found a solution to the problem. I have had my car horn converted to the sound of machine gun fire. Amazingly it has cut my journey times in half.
I have just been listening to the new live offering from The Decemberists. If you haven't heard anything by them, then I suggest you might like to correct that as soon as possible.
Formed, like one or two of my other favourite bands, in Portland, Oregon (there must be something in the water there), The Decemberists released their first recorded work - an EP - in 2001. Since then they have released six full length studio albums, and now a live double CD or triple vinyl LP if you prefer.
The songs usually written by front man Colin Meloy, who I now believe is a published children's author, are often based upon folk-lore tales or real historical events. Musically they feature a variety of instruments as aside from the usual guitar, bass, drums, the sound is often embellished by accordian, wurlitzer organ and stand up acoustic bass. The closest comparison I can come up with is to another very fine band, The Arcade Fire.
I have not had the pleasure of seeing them play live yet (my son Paul caught them last year in Birmingham) but their live shows are said to be eccentric affairs utilising a good deal of audience participation. Perhaps there were arguments for this release being in DVD format so we could see as well as hear the performance. Anyway, the recordings were made at various US venues during 2011.
There are twenty songs featured on the album representing the whole of the band's career to date. The track 'Oceanside' that kicks off the second CD dates from the aforementioned 2001 EP while the other tracks come from each of the remaining albums. For the record there are two from 'Castaways and Cutouts', three from 'Her Majesty, The Decemberists', four from 'Picaresque', two from 'The Crane Wife', surprisingly only one from 'The Hazards of Love' and more obviously, seven from the album they were promoting, last year's 'The King is Dead'.
Obviously I haven't compared each of the versions to the originals but the performance hangs together nicely and captures much of the atmosphere and interaction with the audience. If you already have the original studio albums you may want to give this a miss unless you want to recapture the spirit of seeing them live, or you simply have to own everything they release. If you are new to the band, then this could serve as a nice sort of 'greatest hits' introduction.
Whatever your choice, I hope you enjoy. As Colin Meloy says during this performance, 'Your money will be well spent.'
It seems that the British weather still has the capacity to surprise us.
Two weeks ago I played my first round of golf of the year in beautiful sunshine and temperatures in the low twenties. Bear in mind this was still the middle of March and in the north east of England.
Exactly one week ago I was out walking with three pals in the beautiful countryside of the Tyne Valley. Once again the sun shone, there were blue skies and temperatures soared to the mid twenties. Spring had well and truly arrived. The lack of rain had brought the usual talk of droughts and for the southern counties, hose-pipe bans. It was as if summer had arrived early.
Today I headed to the golf course once more but with lower expectations. I had seen the weather forecast with silly talk of snow in some parts of the country. Rubbish, I thought. How can we go from the summer conditions of last week to winter in the space of a few days? I soon found out! On my forty five minute journey to the golf course (once more back in the idyllic Tyne Valley) the temperature dropped six degrees. Upon arrival the rain was coming down sideways in a freezing northerly wind. As I donned my waterproofs the rain turned to sleet and my hands became so frozen I was unable to lace up my golf shoes.
I've now been on this planet for 60 years, have lived all of those years in Britain and most of them in the north east of England - yet I am still surpised by the weather that nature throws at us. As Big Star once said, "What's Going Ahn?"
Last night Jack Bruce played with the Big Blues band at Newcastle Tyne Theatre and a superb gig it was too.
My evening began when I met my pal Greg for a couple of pints in the Bodega bar next door to the venue. In there we met a couple Pete and Kate who had travelled from Oxford for a weekend in Newcastle where they would see Jack Bruce and then watch Newcastle United play Liverpool on the Sunday afternoon. After much reminiscing about bands of the past, we downed our pints and wandered in to the theatre just in time to see Jack Bruce take his seat at the electric piano and begin the opening chords of 'Can You Follow'. Gradually the other band members joined him on stage and we were then treated to a run through of some of Jack's greatest songs from various points of his illustrious career.
One of the early songs was 'Neighbour Neighbour' from his time with Graham Bond. This featured a scorching sax solo from Derek Nash. Then a selection from his first solo album 'Songs For A Tailor'. First 'Weird of Hermiston' which segued into 'Tickets for Waterfalls' and was then followed by an awesome version of 'Theme For An Imaginary Western'. I think it was at this point that a woman at the front of the audience shouted "I love you, Jack"
We then moved into the Cream section with 'Spoonful' closely followed by 'Born Under a Bad Sign', Jack treating us to some great playing on his trademark fretless bass. Time then for another shout of "I love you, Jack" to which he quickly responded "You're so loyal. I think this is the longest relationship I've ever had."
One of the many highlights was a terrific version of We're Going Wrong' from the 'Disraeli Gears' album. Then two from 'Wheels of Fire' as 'Deserted Cities of the Heart' was followed by the opening chords of 'White Room'. Finally the band played out with 'Sunshine of your love' and after a standing ovation, came back to encore with 'Politician'.
Jack was supported throughout by a fine set of younger (and taller) musicians. A tight six or seven piece band who provided just the right accompanyment without overshadowing the main man. I say six or seven piece as the core six were joined by Nick Cohen on bass when Jack moved to the electric piano. During 'Sunshine of your love' there were two bass players on stage - I think the first time I have seen that. Unlike many of Jack's contemporaries, he did not need to be carried by a superb set of musicians. His playing and his voice are still in fine shape.
I was reminded of a superb BBC4 documentary about Jack that I saw a few weeks ago. It was particularly revealing about some of the tragedies that have occurred in his life. Sexually molested by a trusted music teacher while still a very young man, he lost one of his sons at the age of 28 and then Jack himself almost died following a diagnosis for liver cancer and a subsequent liver transplant operation in 2003. Thankfully he recovered and has continued to thrill music fans ever since.
As the lights came up, the audience filed out of the theatre and we joined many of them back in the Bodega for a final pint. There we hooked up again with Pete and Kate who had also thoroughly enjoyed the show. Eventually they went off in search of Stowell Street (Newcastle's China Town) and we wished them a good weekend as we finished our own pints and headed towards the metro home.
The Big Blues Band are:-
Jack Bruce - vocals/bass/piano
Tony Remy - guitar
Frank Tontoh - drums
Nick Cohen - bass
Paddy Milner - piano/keyboards
Winston Rollins - Trombone
Derek Nash - tenor sax
Paul Newton - trumpet
During the Jack Bruce gig, I think at the end of 'White Room' we were "treated" to a drum solo by Frank Tontoh. Now don't get me wrong, Mr Tontoh is clearly a very fine drummer and I'm sure he appreciated the opportunity to demonstrate his skills, but frankly drum solos aren't really my thing. And judging by the queues forming at the toilets during the said solo, I suspect I am not alone.
It all took me back to the early 70's when the twenty minute drum solo was obligatory for every band. But at least then we knew it was coming. As soon as it started and the rest of the band ambled off stage to have a deserved cuppa lovingly prepared by their roadies, that was the signal for half the audience to dash to the bar, sink a pint and then return twenty minutes later just in time to see the refreshed band members returning to the stage. Round of applause for the solo few of us had heard and then it was on with the show.
Thanks to the pre-gig pints I had supped last night, my call of nature meant I almost missed 'White Room'. Had we been forewarned that there was to be a ten minute drum solo, I'm sure I could have hung on a bit longer. So, here's a suggestion for concert promoters. If the band are planning a drum solo, can some sort of warning be posted on the ticket just so we know that we will have time to have another pint, visit the loo or whatever. At my time of life it helps to plan ahead.
