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.
Tuesday, 10 April 2012
Saturday, 7 April 2012
Book#1 - Electric Eden by Rob Young
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.
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.
Wednesday, 4 April 2012
Solution to Road Congestion
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.
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.
Tuesday, 3 April 2012
The Decemberists - We All Raise Our Voices To The Air
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.'
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.'
English Weather - What's Going Ahn
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?"
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?"
Sunday, 1 April 2012
Jack Bruce at Tyne Theatre
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
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
Drum Solos
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.
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.
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