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Fiendish Games

Thoughts of a sometime board games designer

Pining for Vinyl: Truth - Jeff Beck Group

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I don't suppose Jeff Beck is short of a bob or two, but of the three classic Yardbirds guitarists - Clapton, Beck and Page - he has had the least amount of commercial success. To the man in the street, the name Jeff Beck is synonymous with school disco knees-up Hi Ho Silver Lining, which is a bit like Einstein being best known for a wild and crazy hairstyle.



It could have been very different had he kept together the line-up on Truth, the debut offering from the Jeff Beck Group.

On guitar we have Beck himself, undoubtedly one of the most innovative and talented rock guitarists of the last 50 years.

On vocals, Rod Stewart, who, whatever else you may feel about him, has surely been one of Britain's top vocal talents.

On piano, ace session muso and long time Stones sidekick Nicky Hopkins (though I think he joined on the second album).

On bass, Ron Wood, subsequently of Faces and some other band whose name slips my mind.

On drums, Mickey Waller, who pretty much disappeared from view after the Jeff Beck Group, apart from playing on a few multi-million selling albums of Rod Stewart's.

The music is high octane blues rock. Not a million miles away from the sort of stuff Cream were playing at the time, though generally shorter and punchier.

As well as the dynamic riff-based rock we now take for granted, the band's stock in trade was the interplay between Stewart's vocals and Beck's guitar. The call and response routine that was a part of the band's output, particularly in a live situation, was subsequently copied by Messrs. Page and Plant in Led Zeppelin, after Page had seen first hand how Beck's group was tearing up the concert scene in the USA with his pounding blues-based rock.

In other words, had the band not disintegrated because Beck was such a pain in the arse to work with, there might have been no room in the world for Led Zeppelin; or maybe there would have been, except they would have played Deep Purple to Beck's Led Zeppelin, if you see what I mean.

I was going to say that this theory falls down on the basis that Led Zep's songwriting talent was so much better than the Jeff Beck Group's, forgetting, for some reason, that Stewart and Wood have written a fistful of million sellers themselves.

Anyway, enough of the "what might have been" scenarios, what's the bloody album like?

Good.

If you like that sort of thing.


That sort of thing being amped up white boy British blues. We're talking the prototype of British heavy metal. These guys have as good a claim as anybody to having invented it. God help them.


Sure, it sounds a bit dated now, with the material a bit over familiar (not least the acoustic version of the traditional Greensleeves) but you can't deny the panache, passion and power of this ensemble.

The album opens with a reworking of the old Yardbirds hit Shape of Things. It's a heavier interpretation with Stewart trying a bit too hard on the vocals.

Track two, Let Me Love You is a tremendous blues track featuring the aforementioned call and response from guitar and vocals. It starts out sounding like Cream's Strange Brew and ends up sounding like Zep's Lemon Song (which it pre-dates, of course).

The cover of Tim Rose's Morning Dew is about as close to pop as the group gets. They sort of do a rocking up of this folkie classic, a la Nazareth's interpretation of This Flight Tonight.

The beginning of You Shook Me (also covered by Zep, but I don't want to labour the point - oh, all right, I do) sounds like Beck's guitar is being sick, as he does disgusting things with distortion (hey, look, I managed to avoid griping about how Hendrix gets all the credit for pioneering things Beck did years earlier - oops!) but otherwise is an inferior version to Zep's take.

Side one ends with a downbeat rendering of Ol' Man River, where Stewart gets to live out his Sam Cooke fantasies.

Side two has the aforementioned Greensleeves, a rasping bolero intstrumental, a couple of blues work-outs and the album's stand-out track, I Ain't Superstitious, a song which has a swagger of which Muddy Waters would be proud.

Great wah-wah guitar work from Beck on this one, while Stewart's voice sounds like it is tunneling down your ear.

All in all, it's a pretty good first album, but then these guys were hardly inexperienced novices. I think it stands comparison with Zeppelin's first album. It's probably a bit more uneven, but then Zep had a prototype from which to work whereas the Jeff Beck Group (JBG) were making it up as they went along.

In the end, perhaps the main difference between the JBG and the likes of Cream and Led Zeppelin is the drumming. Mickey Waller is no John Bonham and he is no Ginger Baker; he's a Charlie Watts, tidy and unobtrusive - the antithesis of a top notch heavy metal drummer.

Keep or dump? It's a keeper, but an album I will only pull out occasionally, if only because I have so much Faces material in my collection that I get to hear more than enough Rod Stewart. I would recommend it to heavy metal fans, except that it is a fairly disciplined piece of work, not heavy on long guitar solos. That's a bonus in my book, but some people enjoy 3 minute guitar solos. 8/10

Return to the Forbidden Planet

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The Royal Institution of Great Britain is doing monthly re-runs of science fiction films on the big screen. You've already missed July's film, Forbidden Planet, and I would not be in any great rush to see Star Trek II: the wrath of Khan on August 8th, either, but in the main I am in favour of old films being shown once again on the big screen.

Consequently I will be keeping an eye on future showings at the RI; not that the web site makes this very easy.

Apparently the Royal Institution exists so you can "explore two centuries of great scientific breakthroughs, and discover the newest big ideas about our universe and everything in it." One scientific breakthrough that seems to have passed them by, judging by their site, is the poor visibility offered by red text on a black background. Hideous.

Other things going on at the RI include the launch of a new book club, another chance to see one of this year's Christmas Lectures from Dr Hugh Montgomery and the opportunity to quench your thirst with the free tastings after examining the science of beer. Mmmmmm, beer. I mean, mmmm, science. No, hang on, I was right first time.

Back to vinyl: Barclays James Harvest

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Everyone Is Everybody Else - Barclays James Harvest

In every person's record collection there must lurk albums from deeply unfashionable bands. I'd probably think twice were I at a party about confessing to owning a BJH album but here I am revealing all on my blog.

The band, once routinely dismissed as a "poor man's Moody Blues", is not exactly the sort of act I would normally take a shine to but I did not have much choice; as a heavy listener to Radio Caroline back in the seventies I was subjected to this album - Everyone is Everybody Else - about 5 times a day every day for about two years. I even ended up seeing the band live at the Kursaal in Southend at what was probably the only gig where I spent most of the evening sitting cross legged on the floor. Maaaaaaaan.

So, what was it about this album that caused it to be adopted by the "love, peace and good music" crowd on the good ship MV Mi Amigo, floating home (at the time) of Radio Caroline?

Well, it is an incredibly "white" album, big on melody, very ethereal and idealistic in a Guardian reading sort of way. I don't know about the band being Moody Blues clones, to me the closest album to this one in terms of style and content is Pink Floyd's Dark Side of the Moon. Only it's better.

OK, for many, that statement may be heretical but it's my blog so I am entitled to my opinion and the simple fact is, I own this album and I don't own Dark Side, so I must rate this album higher than the Pink Floyd classic.

Talking of whom, when did the Floyd become fashionable again?

Mind you, as I was the only person on the planet who did not own the Floyd album in the seventies there was never much need for me to own it, I could hear it any time I visited a friend, often whether I wanted to or not.

Track listing
1. Child Of The Universe
2. Negative Earth
3. Paper Wings
4. The Great 1974 Mining Disaster
5. Crazy City
6. See Me See You
7. Poor Boy Blues
8. Mill Boys
9. For No One


Unless you are an old time Radio Caroline fan, it is doubtful whether any of those songs mean anything to you, but all of them are irrevocably imprinted on my brain. Despite the familiarity of the tracks it was still good to hear them again. Not "hairs standing up on the back of the neck" good, but "comfortable shoe that still looks a bit stylish" sort of good.

As mentioned previously, the band has a very ethereal sound, and like the Floyd, very clean and precise. The ethereal bit probably comes from the use of the mellotron, a keyboard instrument which, if memory serves me, used a succession of tape loops at various pitches that were operated by keys. The tape loop means that each note sustains indefinitely, giving a very "choral" effect.

The vocals are very clean with no nods whatsoever to R&B vocal stylings. Enunciation is clear because the lyrics are there to be heard. OK, they may be a bit hippie drippy but this was 1976 and punk was only just beginning to happen; the sixties hadn't really finished at this point but they were about to, with a crushing finality.

Did I mention that the band sounds incredibly white? They don't rock, they don't swing, they sort of glide. Track one, side two, Crazy City, is the closest they come to rocking, with just a suggestion of distortion on the guitar as it pounds out the riff, but you never get the impression that the band are "rocking out" - instead they sound like they are reading the music.

Nevertheless, the songs are good, the guitar playing is pretty fine and it makes a pleasant change from the sleazy guitar based pop that forms the bulk of my record collection.

Keep or dump? Oh, a definite keeper. Even if the album sounded horrible to me twenty years after buying it, I have too many good memories tied up with this album to consider dumping it, but as luck would have it, it's a strong album without a duff track on it, and a few epic classics. Recommended to Floyd fans while you young 'uns who are into Muse might find it up your slightly bombastic street. 8/10

Going mobile

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When the series Grumpy Old Men first came on telly, I would often catch Mrs. Fiendish slyly glancing at me as we both listened to popular has-beens on the show moaning about modern life. When I finally asked her why she kept giving me funny looks she explained that 99% of all the complaints she had heard on the programme she had previously heard coming out of my mouth. So, it won't surprise you to learn that I am not a big fan of mobile phones.

I do own one, of course. It's a black one, with a screen and some buttons on it. Mrs. Fiendish insisted I have one so she gave me one of her cast-offs. She also insists I turn it on when I am out of the house, something which I am happy to do as I usually can't hear it ringing anyway and besides which, without it, my kids might - shock horror! - have to be at a prearranged place at a precise time when I drive to Enfield to pick them up of a Friday or Saturday evening.

Clearly I use the phone less than most people but I had no idea just what a low usage customer I am until I read this piece of investment analysis on Vodafone from someone at JP Morgan.

A low-end contract sub needs to cut usage c.40% to save money by switching to prepay. A VOD UK user on the entry level contract tariff (average £18.33/month for 18 months) can make 100 mins of outgoing calls and send 100 SMS. Switch to Anynet prepay and he needs to trim usage by >39% (assuming an even split of peak and off-peak calls) to cut his monthly spend.

Good grief! £18.33 per month? A £20 pre-pay card lasts me about three months. Were I a typical user then we could turn the analyst's analysis around and say Vodafone needs to cut its cheapest tariff by 66% in order to remain competitive with pre-pay.

I suppose on the same basis my sister, who travels into London from the wilds of Essex at most twice a year ought to get herself a £3,000 annual season ticket and Posh Spice should always dine at places that offer all you can eat buffets at a fixed price.

If customers are getting 100 mins of free calls a month and 100 free text messages, no wonder London pavements are chock full of idiots interfacing with their mobile phones rather than looking where they are going.

Then again, I am sure Arthur Smith said much the same thing once on an edition of Grumpy Old Men

Vinyl makes small comeback

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This item from the Associated Press.

"It was a fortuitous typo for the Fred Meyer retail chain.

This spring, an employee intending to order a special CD-DVD edition of R.E.M.'s latest release "Accelerate" inadvertently entered the "LP" code instead. Soon boxes of the big, vinyl discs showed up at several stores.

Some sent them back. But a handful put them on the shelves, and 20 LPs sold the first day."


Hey, I've started a trend, and I am not referring to the annoying and just plain wrong practice of starting a sentence with the word "but". Is it so hard to type a comma rather than a full stop if you want to use the "but" word?

But I digress...


"The Portland-based company, owned by The Kroger Co., realized the error might not be so bad after all. Fred Meyer is now testing vinyl sales at 60 of its stores in Oregon, California, Washington and Alaska.

Other mainstream retailers are giving vinyl a spin too. Best Buy is testing sales at some stores. And online music giant Amazon.com, which has sold vinyl for most of the 13 years it has been in business online, created a special vinyl-only section last fall."


And it also really annoys me when people start a sentence with the word "and".

"The best-seller so far at Fred Meyer is The Beatles "Abbey Road" album. But musicians from the White Stripes and the Foo Fighters to Metallica and Pink Floyd are selling well, the company says."

Abbey Road? OK, it's not quite as mediocre as Sgt. Pepper but I am surprised at the popularity of this album. Surely Revolver, Rubber Soul, Hard Day's Night, Help and Magical Mystery Tour (roughly in that order) are the Beatles albums to have?

Apparently sales of vinyl in the US rose 36% in 2007 to 1.3m discs or, to put it another way, a year's worth of sales for Dark Side of the Moon in its seventies heyday. (That was a total guess, by the way.) Is it grammatically correct to start a sentence with a bracket? Am I obsessed.

Anyway, let's not get carried away. Vinyl is not coming back into fashion in any meaningful sense. DJs and hi-fi buffs may stick with it but in an age when people are prepared to spend 2 minutes looking for the remote control rather than 15 seconds walking to the TV to change the channel, vinyl is not going to cut it.


"But it's not just about the sound. Audiophiles say they also want the format's overall experience -- the sensory experience of putting the needle on the record, the feeling of side A and side B and the joy of lingering over the liner notes."

Not to mention the experience of trying to blow a stubborn bit of fluff off the record, the joy of crackles played at 90 Db and the "this chorus is going on a bit, isn't it?" deja vu experience of the stylus getting stuck. Good point about the album covers though. Perhaps they should sell them individually with a licence code to download the music?

Van Gogh's ear for music

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Saw this on a PR release today:

A guitar signed by Roger Daltrey CBE, frontman of The Who, is one of the prizes in a charity auction for Teenage Cancer Trust (TCT) at the Northern Design Awards 2008 on 31st May.


Good cause and all that but Roger Daltrey's guitar?

What next? A rugby ball signed by David Beckham? A painting signed by Sting? A shirt worn by Patrick More? A film poster signed by Johnny Vegas?

Vinyl Score: Badfinger

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No Dice – Badfinger



Back when I was treading the boards the guitarist from No Dice – a fella who rejoiced in the name Diesel – came in to our rehearsal studio as we were packing up and had a pleasant chat. He took a particular shine to one of our guitarists' sunburst Les Paul and 20w Marshall amp set-up and asked if he could have a go. Upon being given permission he impressed the hell out of both the guitarists in the band by tossing off the intro to “Constipated Duck” and various other wrist-mangling Jeff Beck chord sequences.

Mind you, we had been auditioning a drummer earlier and he was so unimpressed at the guitarists’ rendition of the intro to “Purple Haze” he emerged from behind his kit and taught them how to play it properly, so it is probably true to say that it did not take much to impress said guitarists at that stage of their career.

So far as I know, No Dice never released an album called “Badfinger” so I guess some of you will have realised that this is a review of an album called “No Dice” by Badfinger.

Oddly enough, I am only three acts into my review of my vinyl record collection and this is the second band of the three who had two members die. With the Allman Brothers, two members died in motorcycle accidents; with Badfinger, two of them hanged themselves.

I am not entirely sure the circumstances behind their suicides, but I seem to recall the band was fairly comprehensively stiffed by their management which may have contributed to their state of mind.

Be that as it may, what about the music?

Badfinger were dogged throughout their career with the reputation of being Beatles copyists, which is odd for a band that started out life as The Iveys, a name chosen to conjure up images of The Hollies.

They signed to The Beatles’ record label, Apple, and are the label’s best selling act other than the Fab Four.

I think “No Dice” is their second album and it starts with a nifty rocker called “I Can’t Take It”. If I played it to you and said this is a long lost McCartney classic in the mould of “Drive My Car” you’d probably be half inclined to believe me.

If the band was to become tired of the Beatles comparisons they did themselves no favours by decisions such as titling one of their songs “Love Me Do” (a routine Quo-like 12-bar) and going so far as to include one song (“Better Days”) that clearly was meant for Ringo to sing.

Side one ends with a triplet of great songs. “Midnight Caller” is a mid-tempo piano-based bitter-sweet love song to a prostitute. It’s followed by the hit single “No Matter What”, a straight-forward driving pop song which I tried to get one of my bands to cover but which was thrown out because the rhythm section complained it was too simple (bloody musos).

Side one ends with “Without You”, the song that should have set Tom Evans and Pete Ham (the writers and the two guys who hanged themselves) up for life. It’s the original version but not the best, seeing as Harry Nilsson pretty much nailed the song and made it his own. Nevertheless, Badfinger’s version is not without its charm, especially on the long Hey Jude style fade out which also threatens to turn into “Whiter Shade of Pale” at times.

The song highlights one of the problems with the band which may have stopped them from achieving the level of success their songs deserve, and that is the fact that the band are middling musicians. The singer struggles to hit the notes and the band’s playing is a bit lumpen.

In a perfect world the leading lights of Badfinger would now be writing hits for Kylie Minogue or Mariah Carey (wait, hang on …)

Side two does not have the quality of side one, having a few too many watered down boogie numbers. It starts with a whimsical number called “Blodwyn” which reminds the listener that the band were from Wales.

The closing track, “We’re For The Dark” is probably the most interesting song, lyrically and instrumentally. It’s acoustic guitar based but with some subtle orchestral additions and underlines how ordinary the rest of the production on the album was.

As you can see, it is impossible (for me anyway) to avoid describing Badfinger in terms of how their work relates to the Beatles and this album, with half a dozen very strong songs on it, three OK numbers and three fillers really could have done with some input from George Martin.

I imagine the band got mightily cheesed off with the likes of me constantly comparing them to The Beatles and in any case at the time of this album music fashion was moving in a heavier direction, and Badfinger’s blend of commercial rock was going out of style, not to return until the jingly-jangly indy pop revival of the eighties.

In order to cast off their old pop image the band subsequently recorded a studio album that was much heavier and bluesier, and the record label refused to release it. When “No Dice” was reissued in 1991, Apple included the unreleased tracks on a bonus disc.

As mentioned, the bonus tracks are heavier and bluesier, and something really weird has been done to the vocals, which sound like they are playing at 16 rpm while the rest of the band is on thirty-three and a third. Frankly, it makes the singer sound brain-damaged and were it not for the fact that my turntable plays a bit fast anyway I would assume that there was something wrong with the turntable, or maybe the disc is warped.

As ever, the songs are generally pretty good on the bonus disc and the playing is unexceptional.


Of all the albums in my vinyl collection this is the only one I purchased during the period when I did not own a turntable, so it is still fairly unfamiliar to me. I bought it because my friend Kevin Warne lent me a copy back in the days when I had a record player, so I must have been impressed then and I am pretty impressed now. By most accounts this is not the best Badfinger album, either, but it is pretty good nonetheless, and recommended if you like power pop where the songs take precedence over the musicianship.

Keep or dump? A definite keeper. The more I play it, the more it grows on me and the less distracted I become by the white-bread arrangements. I may have to check out some more of their stuff. I suspect this may end up as an 8 out of 10 album after more playing but for now, 7/10.


P.S. The YouTube link to the track "Better Days" suggests these guys were better musicians than I give them credit for.

John Terry doesn't have a leg to stand on

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After a Friday night spent gaming I was feeling a bit rough the following morning for reasons unknown. I initially put it down to the 400cwt of crisps I consumed, but it might have been the beer, though I had just the one bottle. It was an Indian Pale Ale from a very small independent brewery called BrewDog and I was basically attracted to it because it was called "Punk IPA" and the label basically said "if you are a lager drinker, FOAD, matey, because this brew is too good for you."

Well, it made me laugh, anyway, and more to the point it made me buy it, along with a bottle of their "Paradox" stout.

As it happens, I liked the stout a lot more than the IPA. The IPA was very smooth and crisp going down, but left a very sour after-taste which I suppose will take some getting used to.

I went back to Odd-bins last Friday to get some more of the stout and was surprised to find it was twice the price of every other bottled beer on display. When I examined the bottle in more detail it turns out that the stout was 10% alcohol by volume, which makes it the strongest beer I have ever tasted, but oddly enough it did not taste thick and syrupy like, say, Old Peculier or barley wine. It's also matured in malt whisky barrels, which probably helps.

It's a limited edition stout, worth breaking out for special occasions.

Anyway, on the Saturday after the gaming session I was feeling a bit rough. Maybe I didn't have just one bottle the night before, maybe I had the stout as well, which would explain a lot.

Be that as it may, I slept most of the day and missed the FA Cup Final. The days when this was the second most exciting football day of the year (England v Scotland being the most exciting) have long since gone, thanks to the glut of live matches we have now on TV, but I would have liked to have watched it if only to see two teams who really care about the trophy competing to win it.

My ennui at the prospect of seeing one of the so called "Big Three plus Liverpool" doing battle with each other is such that I was seriously considering giving the European Champions-Plus-Numerous-Runners-Up Final a miss, even though - as Rory Bremner aptly put it, it contained one foreign-owned club full of overseas players taking on another foreign-owned club stuffed full of overseas players in what was being billed as a uniquely all-English final.

Part of the problem was that I wanted them both to lose. This is going to sound heretical coming from a Spurs supporter but I actually don't mind Arsenal too much; they play great football and Arsene Wenger is so cash-strapped in relation to his competitors that he can't even afford to replace those spectacles of his that only allow him to see transgressions committed against his players rather than by them.

I also have a soft spot for Liverpool, partly as a result of an infection picked up from Oakes, a keen Liverpool supporter who is probably going to have to top himself when ManUre finally rack up more title wins than Liverpool (in about 4 seasons time).

ManUre I hate because, although they generally play good football, they have had what seems like the whole of the English press on their side for the last 50 years, deifying them. Plus they have all those glory hunters following them.

I suppose I ought to hate Chelsea because they have bought success, but I am not bothered about that. I have always disliked them for their glamorous association with the King's Road and the fact that any visiting celebrity who gets dragged along to watch "soccah" is always taken to Stamford Bridge rather than Upton Park, but most of all I hate them more than Arsenal because Spurs so rarely beat them. Spurs rarely beat Arsenal either, but that's because they have always been a strong side but Spurs could not even beat Chelsea when the likes of Dave Beasant were playing for them.

So, I started watching the Euro Final just to see whether I could get interested in it, and to see whether I would end up reluctantly rooting for someone.

The first-half was embarrassingly one-sided and it was the prospect of Avram Grant getting it in the neck from the British press for "not being able to win the big one" that swung my sympathies Chelsea's way, and I was quite chuffed when they came out in the second half and actually started passing the ball instead of hoofing it up to Mad-dog Drogba all the time. I don't suppose anything is going to dent the Sir Alex Ferguson legend in the eyes of the British press, but it would have been nice for them to have been obliged to explain how the Old Master got outwitted.

Sadly, it was not to be but it was a fairly enthralling match that came to a most satisfying conclusion.

First we had John Terry, a man who probably even his own mother regards as an arrogant dick who should have been suffocated at birth, kicking off the whole string of events that got Mad-dog Drogba sent off for a girlie slap.

As the self-appointed guardian of all that is finest about the English game, John Terry felt compelled to offer his strident views to Tevez on just how possession should be returned to the opposition after the ball has been kicked out of play so an injured player can be seen to.

Seeing as Tevez had done nothing wrong and the match was, in any case, draining away to a mutually agreed draw, this naturally got up the noses of the ManUre players.

I always get the impression that Mad-dog Drogba would travel to the ends of the earth to express a didactic opinion even if it were, for instance, on the sexual needs of white European lesbian midgets, and so I was not surprised when he lived up to Rooney's pre-match claim that he (Drogba) is not right in the head. And Rooney should know ...

At this point chickens prepared to come home to roost.
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It went to penalties and for a while it looked like it was going to be an ideal result. Ronaldo, a lad with a face one could never tire of punching, was in the frame to be the man who lost ManUre the European Cup. Serves him right for being absurdly talented, self-consciously good-looking, a bit too cocky for his own good and, most of all, foreign.

What could possibly be better?

Wait! It's John Terry trooping up to take the "winning" spot kick because Drogba was no longer on the field.

Why was he no longer on the field? Because Terry had started a needless argument because of his demented need to dictate how everyone else should behave. Sophocles would have appreciated the drama.

I presume most of us know what happened next. As Frank Lumphard put it, "It took bottle to stand up and take that penalty kick."

Er ... except he didn't stand up and take it, he fell over and took it, and missed.

Nice one, JT. At least he did not point at the turf like that over-rated dead-ball specialist David Beckham did when he skied one over the bar in a crucial penalty shoot-out.

So it came to pass that Ryan Giggs, who must be some kind of saint because I can't find anything to dislike about him after his long career at ManUre, scored what effectively was the winning goal for ManUre on the occasion when he set a record for most appearances at the club, while the "goals for hire" forward Nicolas Anelka failed to score for Chelsea.

Sport as drama. Somehow it still has the ability to hook you back in after you've sworn off it.

Vinyl Score: Amen Corner

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That's the Allmans sorted, time to move on alphabetically to Amen Corner.

Greatest Hits - Amen Corner
In these days of political correctness it is odd that it is still acceptable to deride the Welsh. Well, not just acceptable, it's practically mandatory.

Of course they are not all sheep-shagging, wife-beating neanderthal miners who burst into song at a moment's notice. Take Amen Corner, for instance, a nice bunch of Welsh lads who had a distinctive brass-based sound back in the sixties, and who were the first Welsh band to score a British number one.

They had a few hits but not quite enough to fill a whole album which is why this "Greatest Hits" is padded out with covers of "Get Back" (nice try but pedestrian) and "The Weight" (not bad). Mind you, I may be being a bit unfair on the band as this album should more accurately be called "Greatest Hits on the Immediate label" though they get round licensing rights by including live versions of their big hits on the Deram label.

How to describe them?

Well, the most distinctive feature is lead singer Andy Fairweather-Low's high-pitched gruff vocals that sound like Kelly Whathisface from the Stereophonics played at 78rpm. Fairweather-Low is a regular in Eric Clapton's band where he is employed for his guitar playing, not his singing.

A lot of the tracks feature brass prominently which by the late sixties was a tad unusual for British bands; I can think of Cliff Bennett and the Rebel Rousers as another brass heavy outfit but no others. (Unit Four Plus Two?)

The songs are lightweight, poppy and riddled with that sixties innocence, though their big hits hint at a punchier approach which probably came across more in their live performances which, judging by the numerous live cuts on this album, would have been wasted on the screaming girls that attended their gigs.

The album kicks off with "(If Paradise Is) Half A Nice", a track with a baffling set of lyrics:

If paradise is half as nice as heaven that you take me to
Who needs paradise? I'd rather have you


Well, yeah? If I can have you, and you are twice as nice as paradise, why would anyone choose paradise?

Their finest hour is the bouncy "Hello Susie", which swings nicely. Coming a close second is the live rendition on this album of their first hit, "Gin House", a blues number which suits Fairweather-Low's strained vocals well.

Also included are their other big hits "High In The Sky" and "Bend Me, Shape Me" ("the song that turned us into a pop group," says Fairweather-Low on the introduction to this live rendition.)

Keep or dump? If this were on CD then I would probably play it occasionally. The thing with vinyl, however, is that it takes a bit more effort to set it all up and as such this album is unlikely to be near the front of the queue. 5/10

Rare find among the Scrubs

Yesterday was a happy day for me. Without any hint of exaggeration I reckon I spend about an hour a day watching episodes of US hospital based sitcom, Scrubs, and most of these I have seen before, but yesterday I found two episodes that were new to me.

Better still, Channel 4 ran a trailer saying "Scrubs returns to Channel 4". Some of us were under the assumption that it had never been away, though it has not yet quite achieved the level of omnipresencee of the bafflingly successful Friends.

This led me to believe that C4 are running new episodes which by my reckoning would be series 7. However, the web site seems to imply they are running series 6. Surely that's already been broadcast? With so many channels around these days it is hard to tell.

Series seven was one of those shows that was affected by the writers strike but the show appears to be back on course with new episodes airing in the States. This was supposed to be the final series, with NBC decided to can it but ABC, which makes the show but does not broadcast it, is supposed to be picking up the rights to the show.

This is good news for my Scrubs addiction but as I seem to be quite happy to watch each episode dozens of times and still find each one funny I can afford to harbour a few small doubts about whether extending the life of the show is actually a good idea. One only has to look at the death throes of Happy Days to see how a show's legacy can be undone by flogging a dead horse.

Still, the US broadcaating business seems to be a thoroughly ruthless industry with shows getting cut halfway through a series; if Black Adder or Red Dwarf had been produced on American TV neither would have seen a second episode, never mind a second series. So, if it stops cutting the mustard, we can be sure it will be terminated in short order.


Of course, if Dr. Elliot Reed continues to attempt to look more glamorous every series then her character will completely lose any plausability. In the early series she was a chunky, pasty-faced by still attractive woman but some time in the middle series she had changed into the sort of woman who clearly spends 6 hours applying make-up and choosing her outfit every morning before travelling to her exhausting place of work to put in a 12-hour shift.

Bring back the old Elliot. Er .. .the young Elliot. Whatever.

Meanwhile, can a film be long in arriving?
July 2008
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