What Glenn Thinks

Battle of Britain (movie)

2012-03-03T11:00:00.000Z

One of the drawbacks of some war films from the 1950s and 1960s is that they promote an excessively sugar-coated or jingoistic view of the subject matter. Genuinely insightful and accurate examination of the historical issues can be obscured by the urge to pander to the prejudices of a mass audience.

Just recently I watched Battle of Britain, a 1969 movie telling the tale of the grim struggle between Germany and Britain in 1940. I had seen this film several times when I was younger, and now, equipped with greater historical knowledge and a more nuanced political appreciation, I was pleasantly surprised at what a relatively sensible and mature account of events it is.

The cast is impressive to say the least, with prominent roles for Laurence Olivier, Michael Caine, Christopher Plummer, Robert Shaw, Trevor Howard, Kenneth More and others. The sets and effects are lavish, but employed tastefully and sparingly, and scenes which in other films might have been excessively showy or grandiose are thankfully not much in evidence here.

Rather than simply deal with the air battle itself, the film seeks to apply some context, and so matters begin with the impending fall of France, and the atmosphere of despondency, retreat and chaos. This is swiftly followed by images of Britain bracing itself for possible invasion. There are some imaginative bits of sequencing which appear to contrast British stoicism with German triumphalism and perhaps over-confidence.

One of the things which I admired about this film is that it celebrated the courage and defiance of Britain in facing up to its plight without being overly sentimental or trite. The "stiff upper lip" is much in evidence, but in an agreeably understated manner. For me the script flirts with the notion that much of this was a case of "putting on a brave face". This theme is continued with the often fatalistic or sarcastic humour displayed by the RAF pilots, masking their genuine fear.

This movie was justifiably praised for its action sequences, and it is fair to say that they were impressively done. The impact of these sequences was magnified for me by the quality of the film stock. Effective camerawork and judicious use of music also contribute in this regard.

As well as the flying excerpts, the parts where British airfields are attacked are also very powerful, and occasionally graphic, as in the scene where Susannah York's character is faced with a line of the bodies of her subordinates, covered in blankets. A reminder of the human cost, in a type of war which often seemed relatively impersonal.

One of the scenes which I noticed, but which might not have garnered the credit which it deserved, was one at the height of the battle, where RAF and Home Guard personnel appear in the same location. The producers may have seen this as symbolic, and hinting what was at stake if the battle was lost, and invasion became a certainty.

There were signs that some thorough research had been undertaken, with regard to tactics, the disposition of the respective forces, and so on. I found myself cross-referencing nuggets of information in the film with my own knowledge of the events of 1940.

Laurence Olivier delivers what appears to be a fine portrayal of Air Chief Marshal Dowding. Taciturn, matter-of-fact and a realist, not given to hyperbole. Solid as a rock and level-headed when such qualities had never been more essential.

My one criticism of this movie is the decision to have a Hitler speech scene, and also some scenes featuring Hermann Goering. These bits were quite superfluous, and my opinion is that they should have confined the dialogue and characterisations to the men and women at the sharp end, as it were.

Interestingly, there is no real attempt at a stirring climax. There is some symbolism, with empty seats at a dinner for German airmen, and moves in France to suspend invasion plans. The British looked and sounded more philosophical than elated or euphoric. At the end, Olivier looks out from his headquarters at the English countryside, and this subtle and gentle, but incisive imagery is in keeping with much of this film's tone.

Overall, I thought this was a credible, well-judged and balanced telling of the tale, possibly a definitive "mainstream" cinematic take.

Little Feat

2012-03-01T09:30:00.000Z

People often ask me who my favourite recording artists are. I usually answer that my tastes are so varied and diverse that it is difficult to single out one in particular. However, for many years I have reserved a soft spot for Little Feat, more specifically the era (1971-79) when the late, great Lowell George was at the helm.

Analysing the appeal of Little Feat is tricky, and it is a truism that the most worthwhile works of art defy conventional and straightforward analysis. Suffice to say that once people listen to vintage Little Feat, they invariably become confirmed fans for life.

I gravitated towards Little Feat through my interest in country-rock and folk-rock of the late 1960s and early 1970s. Little Feat were loosely affiliated with that "movement", although they never really fell into any easy or convenient categories or pigeon-holes. When properly checking out their music for the first time, I was immediately impressed and attracted by the humour, the technical prowess of the musicians, and the absence of pretension.

Although the style and emphasis of Little Feat's music evolved throughout the 1970s, one can always detect a certain ambience and spirit, which permeates their work of that period. One of the things which contributed to their uniqueness was the background of the musicians, having feet in both the Frank Zappa/Captain Beefheart camp and the then thriving roots-rock genre. It has been opined that the resultant quirkiness was one of the things which deprived them of major commercial success, but then again without this amalgam of personae Little Feat would have been just another band.

In the eyes of the casual listener, it is easy to see Little Feat as a vehicle for the talent and charisma of Lowell George, but I would interject that this is an inaccurate summary. Yes, Lowell's distinctive guitar playing, singing and songwriting was a central plank, but they were so much more than a one-man show. The other members, and particularly Bill Payne and Richie Hayward, helped to conjure up the irresistible funkiness and groove which characterised Feat in their pomp. The "subsidiary" members contributed more than is commonly appreciated.

Little Feat's first two albums, the eponymous 1971 debut and 1972's Sailin' Shoes, dripped with blues-rock and country influences, all infused with the trademark off-beat humour and general weirdness. Little Feat contains more than a token nod to the psychedelic and California rock idioms, with more introspection and mellowness than would become customary later in the decade. One of the most telling aspects of the debut LP is the clarity with which Bill Payne's piano work is captured, more so than on future albums.

Lowell George's taste for zany and unusual lyrical themes is exhibited to the full on "Strawberry Flats" and "Crack In Your Door". Indeed, with its consistent quality and clear production values, Little Feat has a charm all its own, and tends to be unjustly overlooked when Feat's body of work is evaluated.

Sailin' Shoes reveals Little Feat forging ahead, with occasional glimpses of the musical direction in which they would soon move, especially on the tracks which closed the album. The songwriting also was more focussed and hard-edged, and the sound overall was richer and diverse. However, this would be the last "hurrah" for the original Feat sound.

Changes were instituted for 1973's Dixie Chicken, with the recruitment of a new bass player, and the addition of a second guitarist (Paul Barrere) and a percussionist. The groundwork was being laid for the new incarnation of Little Feat, which would take them to the end of the 1970s.

Dixie Chicken saw Little Feat encroaching into newer territory, and nurturing a slinkier, more supple and sensuous sound, owing much to funky New Orleans R&B. The expanded group line-up was clearly created with this deviation in mind. Despite the changes, the familiar Little Feat humour and approach were still very conspicuous, and if anything the individual proficiency of the players was given greater prominence within the revised framework.

The new sound emitted enormous self-confidence and tasteful restraint, and the track listing of Dixie Chicken features some of the undoubted high points of the band's career, including the title track, "Two Trains", "Fat Man In The Bathtub" and "Roll Um Easy". The production is quite lush, but this ideally complements the mood of the songs.

With hindsight, it is clear that on Dixie Chicken Little Feat reached their own apogee. The subsequent four albums contained many gems, such as "Rock n Roll Doctor", "Long Distance Love", and "All That You Dream". They continued to be a formidable live act, and indeed if anything Lowell George's songwriting became more mature and incisive, but some of the unity and spark had receded.

The gradual eclipse of Lowell George by his bandmates coloured the course of events, with a more keyboard, jazz rock-orientated dynamic taking hold. Well-crafted, but somehow missing that essential Feat je ne sais quoi.

With Lowell George's death in 1979, an era ended. However, we are left with the legacy, the music of one of the period's most talented, but hard to define, groups.

Younger Than Yesterday - The Byrds

2012-02-28T14:00:00.000Z

It is a trait of the music world that often bands only attain genuine critical acclaim when their records become less commercially successful. Sometimes this is genuinely down to the greater profundity of the music, but one is often left wondering what was "wrong" with the earlier work. Perhaps shifting millions of units makes something inherently suspect in the eyes of some.....

The Byrds are an example of this phenomenon. After their initial burst of success in 1965/66, their music became experimental, and therefore less appealing to the masses. These days, when serious critical study of their catalogue is conducted, the period of 1967/68 is lent most credibility.

Younger Than Yesterday was very much a transitional album. Gene Clark was no longer involved with the group, and his departure had the effect of liberating and motivating the other songwriters in the Byrds.

Certainly on this album David Crosby made some of the most concise and expressive musical statements of his whole career, the spine-tingling "Everybody's Been Burned" being the highlight.

The most surprising side-effect of the re-alignment within the Byrds was the emergence of Chris Hillman as a songwriter of real stamp, and his vocal and instrumental contributions also became more prominent. "Have You Seen Her Face" is one of the hidden gems in the Byrds entire canon, with its engrossing melody and dense guitar sound.

Younger than Yesterday is less compact and cohesive than its successor, The Notorious Byrd Brothers, or even its predecessor, Fifth Dimension, and this can leave it sounding quite dissonant in comparison. However, song-for-song it is stronger than either of those albums, and has some moments of sheer beauty and genius (in addition to the songs already mentioned, "Renaissance Fair" comes to mind).

Unlike their earlier records, this one feels like a modern rock album, with the involvement of guests and session musicians providing variety and texture. This all represented a shift away from the staid "beat group" format. Foremost among these guests was Clarence White, whose distinctive "twangy" guitar parts would become a feature of later Byrds efforts.

I know that there has been come criticism of the decision to include a cover of Bob Dylan's "My Back Pages" on this LP. Amongst the innovative and adventurous material, it sounds like a backward step. I would not disagree, but the Byrds make a fine fist of the song, and it acquires an even more wistful tone in this setting.

In keeping with the Zeitgeist, and their own musical detours, there is continuing evidence of the influence of Indian music and jazz. On the psychedelia front, only "Mind Gardens" misses the bullseye, appearing somewhat self-indulgent and pretentious. Admittedly, this was not uncommon in the music world circa 1967!

The closer on the original album, "Why", sounds more futuristic even than some of the other numbers, and tracks like this help to explain why the Byrds became so seminal a touchstone for many acts of future decades.

If you are searching for the ultimate psychedelic rock album, albeit one which retains a core of catchy and memorable songs, then Younger Than Yesterday may just be it.

F1 Testing in Barcelona

2012-02-25T17:30:00.000Z

I predicted in an earlier blog post that the formbook would began to "crystallize" during the testing this week in Barcelona, in the wake of events in Jerez.

Looking purely at the headline time-sheets from Barcelona, it is tempting to suggest that the situation is even more confused than following the earlier session. Even if some of the lap-times seem even more unrepresentative of the true picture, there are also signs that the cream is slowly but surely beginning to rise to the top.

Sebastian Vettel have been consistently quick, in their matter-of-fact, undramatic fashion. The times recorded during longish runs look distinctly ominous for their rivals. McLaren maintained a lower profile in Barcelona, working methodically, and seemingly reasonably content. Positive noises were emanating from Lewis Hamilton about the performance and potential of the car, and this augurs well, even if Red Bull possess a slight but significant edge at present. After the negativity surrounding them a couple of weeks ago, there are indications that things are looking brighter for Ferrari.

Perhaps the most genuinely interesting development of the week was the first serious appearance of the new Mercedes, and the fact that it was quick straight out of the box. Michael Schumacher seemed pleased with progress, although drivers tend to make these kinds of utterances pre-season, even when the true state of play has not yet made itself plain. I would suggest that Michael's voice and opinion carry more weight than some other people!

Although there were reasons for Force India and Sauber being particularly swift at some junctures, both of these teams appear to be moving in the right direction.

Will the top teams show their hand, or more of their hand, at the test in early March? Possibly, but don't bet on it....

On The Beach - Neil Young

2012-02-24T21:30:00.000Z

Just recently, I blogged about Neil Young's classic 1975 album, Tonight's The Night:

Tonight's The Night - Neil Young

Habitually, another album is tied together with Tonight's The Night as representing a particular stage in the singer-songwriter's career. That album is On The Beach:

It is indeed tempting to lump these two albums together, but I think that this a simplistic way of looking at things. They are markedly dissimilar in musical terms, and the mood is subtly but importantly different.

For me, On The Beach has a certain automony within the Neil Young body of work, operating outside the frameworks of most of his other albums of that era. It is illustrative of his urge to continue his restless musical and philosophical journey, rather than rely on old formulae.

Whereas Tonight's The Night, which was recorded first, had a semblance of a common thread musically, On The Beach is quite diverse, and the palette is expanded to include relatively unusual instruments, such as electric piano, banjo and fiddle. There is none of the redeeming jauntiness of whimsical bluesiness. These songs are more brutal, and unsettling. The fact that the songs are all "self-contained" adds to their potency.

On The Beach has an undercurrent of resignation and quiet despair, and there are lyrical references, oblique and otherwise, to Watergate and counter-cultural neuroses of the time. This is combined with examinations of the paths and lifestyles of the artist and his contemporaries. A very apt document of its times, in many ways.

The stand out-tracks are "Revolution Blues", with its sinister and disturbing lyrics, the deceptive and under-estimated title track, and the closer "Ambulance Blues". The latter is one of Young's real gems, harking back almost to his folk-troubadour days.

On The Beach was unavailable on CD for many years, and this helped to generate an air of mystique around it. Whilst the reality could not really hope to match the mystique, it is a unique album, and one of Neil Young's most important releases.

The Hundred Years War - Desmond Seward

2012-02-23T16:00:00.000Z

Over the past two years, I have read quite voraciously, and have managed to fill in some of the gaps in my knowledge of European history. One area which had somehow eluded my grasp had been the Hundred Years' War. I possessed a rudimentary awareness of Agincourt, Henry V, Joan of Arc, and so on, but had not gone into the finer points. Desmond Seward's excellent book, A Brief History of The Hundred Years War, has enabled me to rectify this.

This is of course an enormously broad subject, but Seward succeeds in condensing things into digestible form, while still giving the appearance of thoroughness. The tale is presented in chronological order, with the chapters sensibly corresponding roughly to the prime of the reign of certain English and French monarchs.

The richness of the story is augmented by the use of quotations from the contemporary reports and chronicles, delivered in the language and prhaseology of the day.

I approached this book with an open mind, but was quite shocked and disturbed at how brutally and mercilessly the combatants behaved in pursuing their objectives, including with regard to their treatment of civilians. Both sides were culpable, but the English especially seem to have displayed few scruples. The avarice and amorality of the participants is also strongly depicted. Henry V in particular does not emerge as a very likeable figure. Different times, I accept, but the descriptions of some of the atrocities committed are enough to chill the blood.

The author, from my standpoint, slightly downplays the military and strategic importance of Agincourt, and also has a more nuanced interpretation of Joan of Arc's role than what I suspect is usually offered.

The final chapters deal with the swing in the pendulum away from the English and towards France, and the slow but sure decline in the fortunes of the former. The financial woes of the English are detailed, as are the advances in military technology which gave France some of its ascendancy as matters approached their conclusion.

Also covered towards the end of the book are the recriminations, and assorted rebellions and insurrections, which followed the English loss of territory and prestige.

I found this to be a very enjoyable and informative book. Presented in a jaunty, readable, non-confrontational style, it is well pitched, appealing to casual readers, but also I would suggest containing sufficient detail and analysis to attract keen students of its subject.

Tonight's The Night - Neil Young

2012-02-22T17:00:00.000Z

Every so often, artists or groups opt to take what is perceived as a diversion in their career path, but sometimes this is quite calculating, and intended merely to enhance their degree of "hipness" and mainstream success.

In the case of Neil Young, following the colossal success of 1972's Harvest, he deliberately took a detour, not for any other reason but to explore new territory and escape the treadmill. Perhaps the most authentic and compelling product of that decision was Tonight's The Night, recorded mostly in 1973, but not released until 1975.

In addition to a conscious desire to defy stagnation and convention, the music which Neil Young wrote and recorded around this time also clearly addresses the fall-out from the era just past, and its impact on rock culture. The deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry cast a shadow over this album in particular.

Throughout Tonight's The Night, the arrangements and performances are ragged and almost disjointed, contrasting sharply with much of the singer-songwriter's previous work. As well as signifying an intentional stylistic departure, the basic bluesy approach perfectly complements the lyrical subject matter.

The instrumental hallmarks of the album are also fundamental to its artistic success. Nils Lofgren's brittle but superbly evocative guitar work is often to the fore, as is the weeping pedal steel guitar of Ben Keith. The latter, and Young's harmonica are, essential to the subdued mood of several tracks. These element are supported by the redoubtable Crazy Horse rhythm section.

Neil Young's vocals are as ragged as the backing tracks, sloppy and haphazard, or more accurately perhaps a natural consequence of the turmoil contained in the words of the songs themselves. The croakier, harsher Young voice proves perfectly expressive here, and in keeping with the uncompromising central thrust of the work. It is safe to assume that very few overdubs were performed during the sessions. What would normally be seen as mistakes and blemishes were left in....

Despite the melancholy and often rancorous vibes, there is kind of nobility and defiance about Tonight's The Night, which for me is central to its appeal - a "ragged glory", to borrow from one of Neil's later album titles. Some of the dark humour contained in the lyrics helps to encourage this feeling.

Three of the tracks, "Mellow My Mind", "Albuquerque" and "Tired Eyes", are quite similar in style and melody and, astutely separated, constitute the emotional backbone of the album, together with the bookends of the title track and its reprise.

For the unwary I would expect that Tonight's The Night is an awkward listen at first, and in this and other respects there are parallels with the Stones' Exile On Main Street. However, as a snapshot of an artist's state of mind, and as a slice of raw emotional candour, this album has few equals in rock music.

A Bridge Too Far

2012-02-19T18:00:00.000Z

Very recently, at a loose end one afternoon, I opted to revisit the 1977 war film A Bridge Too Far, directed by Richard Attenborough. It recounts the tale of the ill-fated Operation Market Garden of World War Two.

The movie begins with an effective and evocative black and white newsreel passage, which sets the scene, and places the operation to come in its proper context.

The term "star studded" does not even begin to describe A Bridge Too Far, although none of the performances stand out in particular, generally tending to cancel one another out. None of the luminaries is given sufficient screen time to make a special impression. Among those featured are Dirk Bogarde, Ryan O'Neal, Sean Connery, Gene Hackman, Robert Redford, Edward Fox, Michael Caine, Anthony Hopkins, James Caan and Laurence Olivier.

The early scenes of the movie naturally concentrate on the preparations and planning of both sides. Cleverly, the viewpoint of Dutch civilians and resistance activists is also shown. The misgivings of some Allied commanders are also displayed, as well as to what degree the combatants read (or mis-read) the intentions of their opponents.

The rushed and improvised nature of the Allied plan is also emphasised, with subordinate commanders more often than not unwilling or unable to register the doubts about the operation, for fear of being ridiculed or demoted. One courageous reconnaissance officer spoke up, but was ignored. Whether this is absolutely historically accurate or not is hard to say, but it enhanced this reading of the story.

Some effort is made to contrast the egotism of some commanders, dazzled by prizes and glory, with the reservations and fears of the rank-and-file.

In amongst the glittering cast, I must mention one performance; that of Edward Fox as Lt. Gen. Horrocks. This seemed like a passably accurate, if exaggerated, portrayal of the man, capturing some of his character.

Credit also to the film-makers for having Dutch and German dialogue (and subtitles). This for me increased the authenticity.

One thing which I noticed about this film is the quality of the cinematography, and the camera-work, which looked to be quite advanced for its time. There is almost an intimate/documentary feel about some of the battle sequences, bringing the viewer close to the action, typified by the parachute jumps. Sharp editing and well-judged sound also help to strengthen the sense of believability.

As the campaign goes on, we are shown the sense of desperation which starts to intrude on the operation, with some gallows humour and sarcasm, and dissension in the ranks. From the bravado and optimism of the beginning, this movie takes on a bleaker, and more thoughtful, tone. The vast scale of industrialised war is inter-cut with more considered, personal sub-plots. The sense of weariness,fatigue and hopelessness gradually takes over.

The latter stages of the film dwell on the destruction,misery and futility of war, and how civilians are disproportionately affected. The finale is sombre indeed.

I do not think that A Bridge Too Far is a masterpiece, but it is a decidedly above-average war movie.

Rites of Peace - Adam Zamoyski

2012-02-17T23:30:00.000Z

During the past two years, I have read and watched quite a bit about the Napoleonic Wars, but comparatively little of this research had centred on diplomatic and geo-political matters, particularly those which became pressing in the years 1813-1815. This has been remedied by my reading Adam Zamoyski's admirable book, Rites Of Peace.

The early stages focus on the completion of Napoleon's retreat from Russia, and the efforts of the other powers to position themselves to capitalise on the fall-out from his imminent downfall. The scene is set, and developments placed in their overall context.

Attention is paid to the differing agendas at work, from Tsar Alexander's sense of destiny and mission, to the tension between Austria and Prussia, and the suspicion aimed at Britain, which was viewed as ignorant of the niceties of European diplomacy.

Zamoyski also introduces us to some of the principal diplomatic players, with colourful anecdotes about their characters and backgrounds. He also begins to unravel and explain the bewildering intricacies of the age, and how interwoven the various countries were by treaty, alliance, marriage, religion and history.

The bargaining and horse-trading could be confusing for even dedicated historians, but Zamoyski does a commendable job of condensing and streamlining the developments, whilst still seeming to be thorough.

Also in the early chapters, we find out about the desperate attempts by Napoleon to shore up his alliances, and the equally devious and creative methods employed by the "allies" to persuade rulers or armies to defect or declare neutrality. As these matters progress, there is a palpable withering of morale and enthusiasm in the French camp, belief ebbing away....

We also see how the divisions and discord in the Allied camp intensified as the armies approached the borders of France itself, Russia and Prussia advocating pressing forward, Austria more circumspect. Britain seemed handicapped by the fragmentation of its diplomatic team "on the spot", but also concerned at being marginalised and deprived of some of the spoils. France still entertained hopes of profiting from any discord amongst his foes, to secure more honourable terms.

Throughout the book, we are constantly given quotes from the diaries, letters and papers of some of the protagonists. These help to supply an insight into the state of mind and motivations of these people. This is particularly true in the case of Metternich, the Austrian Foreign Minister.

Some gaps in my knowledge were certainly filled, mainly on the Allied approach to Paris, and the negotiations which followed. The covert discussions conducted by Alexander are covered in depth, in particular the feeling that he was too magnanimous in his approach. The reasoning behind the return of the French monarchy would certainly strike modern eyes as quaint and curious.

One thing which struck me about Rites of Peace is how some major events themselves were given scant coverage. This is no bad thing, as the pivotal battles and ceremonies are covered painstakingly in numerous other books. Zamoyski prefers to concentrate on the work of the diplomats and sovereigns themselves, and their personalities and quirks.

Moving on to the Congress of Vienna itself, the scene is well set, the difficulties and challenges highlighted. A constant theme is the precarious nature of the Coalition, its cracks and fissures, and its perpetual state of near-collapse. The ongoing attempts of the diplomats to keep the show on the road are beautifully detailed by Zamoyski.

The social scene in Vienna is colourfully depicted, and the romantic dalliances and lavish occasions do help to break up the paragraphs on political discourse. However, I must admit that I found myself scanning through these passages after a while. Once you've read about one extravagant occasion, you've read about them all!

Much of the emphasis in the chapters covering Vienna is on the erosion of trust and solidarity between the allies. Napoleon had been defeated and ousted, and having achieved this, the powers permitted old animosities and tensions to resurface. The vexed questions of Saxony and Poland almost led to war, and Zamoyski leads us adroitly through the discussions which led to some kind of settlement. He also details the lingering resentment harboured by many smaller countries and territories, who felt left out and patronised by the big powers.

Of course, as matters were being tied up in Vienna, Napoleon was re-entering the drama, and reading the paragraphs on this, there is a sense of initial panic and dismay, followed by grim resolve to confront the situation.

In keeping with the approach of the book, Zamoyski does not dwell overly on the military technicalities of Waterloo, but devotes his attention to its repercussions, the unpredictability of the Tsar becoming an ever greater concern.

After documenting the resolution, or not as the case may have been, of the outstanding territorial issues, the author examines the legacy of the Congress of Vienna, and the period generally. Many of the purported ideals and objectives of the Powers were either forgotten or simply not implemented. Much of Europe reverted to the clammy grip of absolutism and repression. Reactionary forces sought re-entrenchment.

Looking at what occurred in Europe after Waterloo, one could be forgiven for wondering whether some had put on a facade of enlightenment in order to secure some moral high ground during protracted discussions. The gains achieved were not always used to advance freedom or justice, but rather to buttress the power of those who wished ultimately to curtail and limit those things.

The last chapter is somewhat downbeat, almost seeming to question which causes were actually advanced or served by the battles won and the treaties signed. Many of the people and ideas defeated by the Coalition soon seemed more wholesome and edifying than those of the victors, and the flaws in the settlements, and the arrogance displayed by the major Powers, may have simply served to fan the flames of agitation and nationalism in parts of Europe.

I would have perhaps liked to have seen more dissection of the struggle between liberal and conservative ideas at the time, but appreciate that this falls largely outside the remit of the book.

Overall, though, Rites of Peace is a very worthy, readable and informative piece of work. It certainly gave this reader ample food for thought....

Petrov, Trulli and Caterham

2012-02-17T12:04:00.000Z

The news this morning that Vitaly Petrov will supplant Jarno Trulli in the Caterham line-up for the forthcoming Formula 1 season came as little surprise. The Italian's seat had been considered vulnerable for some time, and Petrov's name was the one most regularly linked with it.

The announcement by the team made little attempt to conceal the economic factors involved in the decision, but I think it a little harsh to bemoan this as another case of a "pay driver" displacing a more deserving candidate. Petrov has done just about enough to indicate that he is worthy of another opportunity in F1, and Jarno Trulli is clearly not the force he was.

Caterham have evidently concluded that having a younger, motivated and ambitious driver, with access to sponsorship, is preferable to one whose career is in decline. The timing of the change is perhaps not ideal, and all parties may have preferred it to have happened earlier, if it was going to occur. No doubt some observers will think that this is hard on Trulli, but sentiment does not figure prominently in F1, or many other walks of life, for that matter....

Having said all this, it is sad to see Jarno go. His departure, coming soon after that of Rubens Barrichello, continues the "changing of the guard", and also makes many of us feel our own ages! As the saying goes, however, time waits for no man, and the new blood in F1 has the opportunity to carve out its own niche, and become as respected as Jarno and Rubens have been.

It is characteristic of Jarno that he was very gracious and magnanimous is his words in the press release, and reading between the lines, it seems that team and driver have parted on quite amicable terms.

The Rolling Stones 1968-1972

2012-02-16T19:00:00.000Z

Some artists or groups have a fairly regular and consistent career path, with occasional peaks and troughs along the way. However, I struggle to think of an act whose time of greatest creativity and zest is so clearly defined as the Rolling Stones are by their output in the period 1968-1972.

During this four or five year span, the Stones fashioned their most consistent and coherent creations, and their records immediately preceding and succeeding it sound anaemic and uninspired by comparison. The band released four studio albums, with a stellar live set (Get Yer Ya-Yas Out) neatly sandwiched in between. Each of those albums has a distinct character, reflecting not just developments within the Rolling Stones, but also in the wider world.

So what was the background to this vibrant phase?

From the start of their recording career, the Stones had leavened their gutsier, bluesier persona with more pop-orientated material. The psychedelic experimentation immediately prior to 1968 may have met with ambivalence and even incredulity, but it did see the consolidation of the Jagger/Richards axis, and the diminishing role and influence of Brian Jones. The Stones were being re-shaped, but for what future purpose was not yet totally clear.

As 1968 dawned, however, it became clear that "flower power" was losing much of its urgency and lustre. As it turned out, this shift worked in the Stones' favour. Rock music was preparing to move in a more rootsy direction (Bob Dylan, The Byrds, The Band), and other artists looked to embrace this to some degree or other. The Stones were no exception.

In this climate of social and political ferment, the stage was ideally suited to the Stones' edgier, rebellious, anti-establishment take. The vogue for stripped-down and less elaborate sounds in a time of upheaval was not entirely coincidental. Many were disenchanted with the naivete of 1967, and were looking to alternative methods and agendas. The artifice of much psychedelic music seemed incongruous against this backdrop.

Above all, the Stones must have felt liberated from the need to conform and compromise, as they had done for much of the previous two years. They could be "themselves" once more....

The first fruits of this rebirth came with the single "Jumping Jack Flash". Even from the scuzzy opening guitar chords, and the sinewy riff which follows, once can feel that this is a new, more purposeful Rolling Stones. The recruitment of producer Jimmy Miller helped to sculpt this new sound.

The same groups of recording sessions spawned the Beggars Banquet album. Few albums before or since have defined their times as pertinently as this one did. The edginess, uncertainty, menace, belligerence even, are palpable. The idealism and optimism of 1967 had given way to realism and cynicism.

It is open to debate whether Beggars Banquet should be regarded as the soundtrack to a year, as it was released in December of 1968, but the Stones slotted seamlessly into their role. Country blues sounds are prominent on the album, and the earthiness and sincerity are perfectly in tune with the mood.

The widespread use of acoustic guitars on the album adds to the authenticity, grit and immediacy. They seem more "proletarian" than vulgar electric ones! And no attempt is made to conceal finger noises and other imperfections. This "warts and all" approach is one of the secrets to the power of Beggars Banquet.

"Sympathy For The Devil", epic and sinister, sets the tone as the opening track. Engagingly and defiantly different and percussive, this song and its message seem symbolic of the shift in the Western mindset around that time. A shrewd choice with which to commence proceedings.

Another linchpin of the album is "Street Fighting Man", which has been the focus of heated debate down the years. More acoustic guitars, and what seems an ambivalent, sardonic and slightly mocking view of the year's events. Whichever interpretation we place on this song, it remains a powerful piece, lyrically and musically.

Two of the numbers on the album, "Parachute Woman" and "Jigsaw Puzzle", with its sub-Bob Dylan words, would normally be filed under "filler", but here they blend into the whole, so their mediocrity is less conspicuous. "Stray Cat Blues" is a nod to traditional Stones territory, and fits in musically, even if its lyrics are out of place.

Beggars Banquet closes with two paeans to blue-collar values, "Factory Girl" and "Salt of The Earth".

By the time the Stones commenced recording Let It Bleed, Brian Jones was a peripheral figure at best, and appears on only two tracks.

In places, Let It Bleed is indeed apocalyptic and incendiary, but to these ears is nowhere near as uniformly strong or cohesive as Beggars Banquet. This may have been partly intentional, and the traumas being undergone by the Stones also played a role, but I would say that Let It Bleed's reputation is ever so slightly out of proportion to its aesthetic merit.

In spite of my mild misgivings, I still rate some of the songs on Let It Bleed. "Gimme Shelter" , as well as being au courant for the end of the 1960s, is one of the outstanding slabs in the Stones catalogue, and indeed the whole of rock music, and "Love In Vain" is one of their most effective covers, but the rest is uneven and patchy.

There is something vaguely tired and listless about much of Let It Bleed, and I am still not fully convinced by the efforts of some critics to talk these things up as if they represent virtues. It might have sounded relevant and important in 1969, but to more dispassionate modern ears it is by far the weakest of the four studio albums released during the period which we are looking at.

Many changes had occurred by the time of the 1971 release of Sticky Fingers. The world was a different place, much of the revolutionary fervour having evaporated. Mick Taylor was now fully integrated into the set-up, rather than being a hired hand.

Sticky Fingers is civilised, well-structured and shrewdly produced. It lacks the rambling, informal quality of Exile on Main Street, but the material is strong and memorable. The lyrical spotlight is firmly on the hedonistic, reflecting perhaps the jaded resignation characteristic of the young decade.

When listening, it is immediately noticeable how much Mick Taylor's guitar flourishes add to the palette, complementing the de facto rhythm section of Keith Richards and Charlie Watts. There is more texture and depth than before, and the addition of Taylor also facilitates more instrumental virtuosity and experimentation, as evidenced by the closing section of "Can't You Hear Me Knocking?". The sound on Sticky Fingers is accessible and clear, but the trademark Stones grittiness is not sacrificed.

There is a sensible balance between rockers and ballads. The album, though, is almost entirely devoid of social commentary, and therefore verges on the one-dimensional lyrics-wise. This may be where Sticky Fingers acquired its reputation as the one which most embodies the fabled Stonesy "swagger". "Brown Sugar" is an absolute gem, but could also be termed "Rolling Stones by Numbers".

Exile On Main Street is often cited as the culmination of everything that the Stones had been working towards, but I'm not altogether sure about this. The 1972 release should be seen as a unique entity, or a tangential work, because of the conditions under which it was recorded, and its groove. If you're looking for the "quintessential" Stones album, you might be better stopping off at Sticky Fingers.

No, I tend to regard "Exile" as a project all by itself, differing in vibe and sound from those which came before, less concise and less concerned with structure and form. It could almost qualify as a compendium of American "roots" music (blues,country, R&B,soul,gospel), but that was unlikely to have been the intention.

I know that some people, on their initial listen, can find "Exile" a touch alienating, because of its slapdash nature and the "foggy" sound. Persevere, though, and these are the things which you will find most endearing about the project.

Exile on Main Street begins and ends with some of its most recognisable tracks ("Rocks Off", "Rip This Joint","Soul Survivor"), but in between is an eclectic blend of offerings, some of them on the surface sounding like lightweight afterthoughts, but forming an appetising whole.

In comparison to the more considered sheen of Sticky Fingers, "Exile" almost feels like a series of "demo" versions of new songs, but it is to the Stones' credit that they resisted the temptation to go for the easy option in 1972, and come up with more of the same. Above all, it sounds like the Stones and their entourage had a swell time putting these songs together, and this exuberance oozes from every chord.

We have mentioned the raw and loose playing on the album, and this is all held together with a glorious soulfulness, most clearly found on such songs as "Let It Loose", "Shine A Light" and "Loving Cup". Hard to define, but very much there.

The Stones made great records before 1968-1972, and some great ones since, but never again did they recapture that "sweet spot", that intangible spirit which informed their music during their halcyon period.

Rather than lament the relative lack of inspiration in the post-1972 catalogue, I think that we should just enjoy and savour these four albums......

Gilles Villeneuve

2012-02-15T20:30:00.000Z

Increasingly these days, I blanch at the idea of having "heroes", putting people on pedestals, or relying on one person or interest for my emotional sustenance. Hero worship, or other related obsessions, have been consigned to my past. More often than, they prove corrosive or counter-productive.

There was a time, however, when I, like other confused, insecure and impressionable kids, craved someone to look up to, to relate to, to believe in. One of the first people to fulfil this role for me was the racing driver Gilles Villeneuve.

As is often the way with these things, it happened almost randomly. I had been aware of motor racing before, but it had shimmered in and out of my consciousness. Then, one soporific Sunday afternoon in 1981, our TV became tuned to coverage of the Monaco Grand Prix. I did not recognise most of the drivers' names, and the technical ins-and-outs were beyond my ken, but the one thing which did capture my imagination was the driving of the number 27 Ferrari.

At the next race, at Jarama, Gilles won again, this time leading home a baying pack of pursuing cars. I had found my new hero. Then it struck me that this was the same guy who had performed those heroics in Holland back in '79.

Looking back, a combination of factors drew me to Gilles. His unquenchable spirit, humility and underdog status were part of the appeal. Also, at the time, I was going through a dark and bewildering time in my own young life, and Gilles represented something pure, heroic and optimistic to hold on to.

Of course, I naively expected the run of successes to continue. Ignorant of the vagaries of racing, little did I know that circumstances and the hand of fortune had contributed to the back-to-back victories. My mind was ill-equipped to cope with the reversals and mishaps which followed during the remainder of the 1981 season. I was dispirited particularly by his trip up the escape road in Austria, whilst being challenged for the lead.

Like many a callow youth, I learned through disappointment that my new hero was not infallible, but was human like the rest of us. Once I had readjusted my outlook, this made me appreciate Gilles' qualities even more.

The auguries for the 1982 season were good for Ferrari and Gilles, and strong showing in Brazil and Long Beach seemed to back up this optimism. I recall being unhappy with events at Imola, but was largely oblivious to the political background, and the alleged duplicity of Didier Pironi. There was still everything to play for....

On 8 May 1982, I had been out with friends, and returned home in the late afternoon. As soon as I had entered the house, my mother informed me that there had been a serious accident during practice at Zolder. It soon became clear that Gilles was involved. I watched the footage on the television news, hoping that this was all a bad dream.

That evening, as the sun began to go down, I vividly remember walking to the bottom of our driveway, with tears in my eyes, and just staring into space for many minutes.

Since that day, I have respected many people in many fields of endeavour, but rarely have I allowed myself to idolize them as I did with Gilles for that eleven of twelve month period.

Francois Cevert

2012-02-12T19:00:00.000Z

The advent of the internet has enabled younger racing fans access to information about some of the heroes of the past, and many of these drivers have become icons for a new generation.One driver who inspires much coverage, and deservedly so, is the stylish Francois Cevert, who left a genuine legacy during his relatively brief career, which ended with his tragic accident at Watkins Glen in 1973.

Cevert embodied everything that was great about that period in racing, the free-wheeling early 1970s. Sadly, whilst epitomising an era, he also fell victim to its ever-present perils. Much of the attention now given to him probably stems from a perception that he was a man denied his destiny, being cut down just as he was reaching his prime.

I have long been an admirer of the Jackie Stewart/Tyrrell era, and have therefore been exposed to a good deal of footage, literature and information concerning Francois. A handsome, charismatic and cultured young man, he seems to have made an indelible impression on all those who met him. Whenever I have seen Jackie Stewart, Ken Tyrrell or anyone else associated with the tight-knit team interviewed about Francois, one could sense the genuine affection in which he was held.

The Parisian spent his entire Formula 1 career in the homely but efficient confines of the Tyrrell team, after being given his chance following Johnny Servoz-Gavin's sudden decision to retire in 1970. Cevert had the backing of fuel company Elf, but Jackie Stewart's promptings, having raced against the youngster in Formula 2, also seem to have weighed heavily.

The rest of the 1970 season was very much a bedding-in stage, but the newcomer clocked up valuable mileage, and before too long was delivering consistent performances. The March 701 might have been a reasonable vehicle with which a youngster to find his feet, but as the year progressed it was surpassed by the developments and innovations of the more established constructors. The introduction of Tyrrell's own car, although initially entrusted only to Stewart, boded well for 1971.

It was now that Cevert truly began to come under the tutelage of Stewart, and began to develop very much in the Scotsman's image; smooth, and with mechanical sympathy. Francois was aspiring to emulate Stewart's facility for setting up a car to be easy to drive, thereby minimising errors and encouraging consistent lap times in the races.

In the early races of 1971, Cevert was playing himself in gently, still learning, and also adapting to the new car. Around the mid-point of the season, however, things started to come together. His first podium finish was achieved, appropriately, on home turf at Paul Ricard, and his gesture of exultation as he crossed the line indicated that he felt that a major threshold had been crossed. After another second place in Germany, he was then in the thick of the frenetic action at Monza, eventually finishing a very close third.

Finally, at the season finale at Watkins Glen, New York, he scored his maiden Grand Prix victory, winning fair and square. It was one of those days when the whole F1 community was genuinely pleased for the winner. Little did anybody know that this would be his sole World Championship victory in Formula 1.

As can often happen to a rising talent, the Cevert star waned somewhat in 1972. Whether Cevert began to over-analyse or over-theorise is difficult to say, but the Tyrrell team was admittedly in a state of transition at the time, and the health problems suffered by team leader Stewart may have unsettled his understudy. The new car introduced at mid-season was temperamental, and the Frenchman infamously crashed it during practice at Clermont-Ferrand.

The downturn of 1972 is regularly used by detractors to assert that Cevert was over-rated. There were mitigating factors, which we have touched on, but it is difficult to dispute that at many races that year Francois was quite lacklustre. On the plus side, it can be argued that he learned much in adversity, and that the disappointments accelerated his motor racing education, equipping him for the challenges to be faced in the future.

As 1973 dawned, the Tyrrell team was more stable, focussed and prepared, and this was reflected in the consistency shown by Cevert from the outset. His driving now had real authority and flair, and he was on the pace much more regularly. Tactical imperatives often dictated that he deferred to Stewart, but Jackie has admitted since that on several occasions that year Francois was perfectly capable of beating him, the Nurburgring being an example of this. The apprentice was now beginning to match the sorcerer.

Francois still seemed content at this stage to gain more experience, and soak up the knowledge and advice imparted by Stewart. He guessed that 1974 would be his year, although he did not know for sure that the Scot would be retiring at the end of '73. Cevert thought he had time on his side. Then came Watkins Glen...

So how good was Francois Cevert, and what heights could he have reached had he lived?

He was only 29 years old when he died, and still developing as a driver. While not blisteringly quick and spectacular in the mould of Peterson or Rindt, he was blessed with some natural ability, and was also acquiring many of the qualities of a "thinking" driver, such as Fittipaldi, Lauda or his mentor Stewart. The arrangements which prevailed in the Tyrrell team make it awkward to gauge his ultimate potential. There were de facto team orders, and possible differences in equipment allocated to each driver. Cevert's junior status in the team from 1970-73 must also be considered, giving him less responsibility, and pressure. Some of the Tyrrell cars of the time were reckoned to be quite tricky to handle, another fact which shows just how masterly Jackie Stewart was...

There has been much debate about whether Cevert would have won the 1974 World Championship. It is tempting to say "yes", based on the assumption that his upward curve of development would have continued. However, one also has to point out the resurgence of Ferrari, the continued development of McLaren's M23, and also the disruptive effect that Stewart's departure would have had on Tyrrell, whatever the other circumstances. Many of the calculations assume that Francois would have immediately blossomed after emerging from Stewart's shadow, and reckon without the generally tighter level of competition in Grand Prix racing in 1974.

In the event, Jody Scheckter, who was effectively the replacement for Stewart, came quite close to winning the championship. We can assume that Cevert would have out-performed the South African, but we will never know for sure what would have transpired.

One thing which we are certain of is the fondness with which Francois Cevert is remembered, much more so than some people who made a greater imprint on the record books than he did. It is heartening to be reminded that human qualities still mean more to many than mere statistics....

F1 Testing at Jerez

2012-02-10T19:00:00.000Z

I was going to begin this article with the disclaimer "testing times are meaningless", but on reflection they are not "meaningless", but rather they should be taken with a pinch of salt. Even with numerous caveats added though, this week's proceedings in Jerez have supplied us with some useful pointers for the rapidly approaching 2012 Formula 1 season.

Despite the headlines generated by the flashes of speed by Lotus, Mercedes and others, it is fair to say that the top table of F1 eminence is still largely the domain of Red Bull and McLaren. When due allowances are made for "sponsorship" lap times, 2011 cars, set-ups and tyre choices, we have seen little to dispel the notion that these remain the most consistent and reliable performers.

Another of the themes to come out of the Jerez tests is the continuing rebirth of Lewis Hamilton, and his apparent determination to move forward and establish a firm foundation for his 2012 endeavours. Positive comments about the potential of the new car, a quietly assiduous approach to his work, and bolstering his management team all point to a desire to grasp the nettle, and blow away any cobwebs.

Sebastian Vettel seemed a touch more guarded in his thoughts on the new Red Bull, and a few gremlins were encountered, but its performance out on the track would indicate that there are few major concerns. They have the resources and the personnel to ensure that everything will be "alright on the night."

The news emanating from the Ferrari camp has been less euphoric. Whilst the team has stressed that much of their work has been methodical, it seems clear that they have much still to do, even if Fernando Alonso delivered some rapid lappery on the final day.

The lap times achieved by the Lotus duo of Raikkonen and Grosjean have been met with hyperbole and derision in equal measure. It is fair to assume that some of those times were notched up with less than a full tank of petrol, and sly references have been made to the possible imperatives of publicity and promotion, but even taking these factors into consideration, signs are not discouraging. Above all, the team is exuding a spirit of optimism and combativeness.

Respect is due to the teams who were content to shun the limelight and,horror of horrors, concentrate on getting lots of laps under their belts, and making sure that their cars are reliable. Caterham and Williams were happy to adopt this approach for much of the four days, presumably reasoning that it is better to expose any frailties or weaknesses now, rather than in Melbourne.

This is the first time that I have followed a pre-season test with this level of attentiveness for many years, and it is striking how things have changed. These modern tests are clearly tailored for the requirements of the media and sponsors, and also to help contain costs. I do, though, miss the more haphazard and informal testing arrangements of fifteen or twenty years ago, which took place in greater anonymity, and with less rigid protocol.

It seems that these tests are regarded by F1 followers in the same way that football fans see pre-season friendlies, and the same unbalanced conclusions are often extracted from both! Every infinitesimal detail is analysed to the nth degree, and either euphoria or misery proclaimed by supporters of Team X or Driver Y. It is remarkable how even some discerning F1 fans can get things out of proportion. Or perhaps these days I don't pay sufficient attention to every nuance myself....

Sifting through the plethora of lap times, statistics and press releases coming from Jerez, and the myriad interpretations of that information, there is no overwhelming reason to believe that the pecking order will have changed that much, apart from some reshuffling in the midfield, and Ferrari lagging slightly further behind "the big two". No startling breakthroughs have been signalled or hinted at, although some minor but interesting trends may be seen with greater clarity at the forthcoming Barcelona tests.

This testing is all jolly good fun, but to see how things really stand, the best advice may be - wait until Australia!

Sheer Heart Attack - Queen

2012-02-08T20:00:00.000Z

It seems to be a common trait amongst music pundits to eulogise about a so-called "classic" album, whilst overlooking the claims of a previous release to be regarded as the seminal work by an artist.

Such is the case with Queen's catalogue. A Night At The Opera is habitually cited as their zenith, when in fact their previous effort, 1974's Sheer Heart Attack, has equal if not greater claims, which I will now expound upon!

Most of my esteem for Sheer Heart Attack is founded in its musical and artistic merit, but I must admit that I have some emotional attachment to it too, as it was one of the first albums which I purchased, when I was about eleven years old, and on vinyl! Even back in those days I detected a certain mystique within those grooves.

The album's content and flavour were certainly affected by circumstance. Before and during the recording sessions, Brian May was afflicted by illness, and this may have dictated the modus operandi in the studio. The backing tracks were assembled differently, with acoustic guitar and piano more to the fore. I have heard Brian acknowledge in interviews that the unusual feel detectable on Sheer Heart Attack was partially down to these factors.

So, if Brian had not been incapacitated at times, would the LP have more mirrored the multi-tracked excesses of Queen II? It is difficult to judge. My hunch has generally been that on their second album,Queen got much of the extravagance and experimentation out of their system, and that they were destined to move in a more pop-orientated direction, anyway. The musical style and songwriting were not massively influenced by the peculiar circumstances, but more its freshness, energy and atmosphere.

So, "Heart Attack" lacked some of the layered opulence of the sophomore album, but equally it has a bounce and suppleness largely absent from its successor. For all its gravitas, A Night At The Opera occurs to me as a classic case of "trying too hard" to make a career-defining album. There is a certain over-earnestness to it all, and over-production leads to some of the songs sounding stale and ponderous.

By contrast, Sheer Heart Attack flows naturally, as if the band was just in the studio to cut some new tracks, as opposed to subconsciously seeking to cement their place in the rock pantheon. It is also diverse in its scope, encompassing hard rock, Tin Pan Alley pop, jazz/ragtime, glam rock and psychedelic influences. Again possibly because of the improvised nature of the recording schedule, it sounds different from other Queen albums, the drums being captured with great clarity and punch, and the piano appealingly airy and treble-heavy.

Whether by accident or design, the sequencing and running order of the tracks works very effectively, perfectly alternating light and shade, and showing off the group's stylistic versatility.

The album opens with "Brighton Rock", a showcase for Brian May's virtuosity and the properties of his renowned homemade guitar. This version is condensed in comparison with those subsequently performed on stage, and this is no bad thing. This track also features the clear but earthy drum sound which is a feature of Sheer Heart Attack. The hi-hat in particular seems to be intensively employed.

"Killer Queen" was the big hit single from the album, and is a prime candidate for Queen's first truly catchy pop song. With evocative lyrics, and pleasing but sparingly and tastefully applied harmonies and guitar licks, this is a very difficult song to allocate to any particular genre, and this is part of its charm.

We then move on to "Tenement Funster", a quintessential Roger Taylor composition, with its uncomplicated, raw melody and "blue collar" lyrical concerns. As with many of the numbers here, the backing track is solid and distinctive, augmenting but not suffocating the overall effect, and the subject matter adds welcome variety and levity.

"Levity" is not a word that could be used to describe "Flick of The Wrist", in which Freddie Mercury appears to vent his anger at some of the nefarious practices in the music industry. Freddie manages to focus his emotions, though, and there are some memorable and impactful lines. Brian May's guitar parts here are suitably intricate and sinister-sounding. One of the most under-rated and powerful items in the Queen catalogue.

By way of relief, we then segue into "Lily of Valley", a fine example of a Mercury piano-based ballad. Brief, but effortlessly tuneful.

"Now I'm Here", upon close observation, can be said to be heavily influenced by the Who's music of the "Quadrophenia" era, particularly its vocal harmonies and guitar riff. The words are said to concern Brian May's ruminations on his life around that time, including Queen's first tour of the USA. Although grandiose and pugnacious, "Now I'm Here" has not aged as well as some of Queen's other singles, now sounding quite bland and lumbering. There are some nice Chuck Berry-esque guitar licks in the fade, though!

"In The Lap of The Gods" starts in dramatic fashion, with one of Roger Taylor's trademark screams, but then becomes another melodic and charismatic song, underpinned by one of those piano/acoustic guitar/bass/drums backing tracks which are emblematic of this album.

Another shift in tempo and atmosphere then occurs, as we are treated to "Stone Cold Crazy", an energetic and frenetic rocker, with an infectious guitar riff, and clever use of percussion and drum fills. Who could have predicted that this song would become influential and revered by the groups of future decades? Also unusual for that time in being credited to all four members of Queen in the songwriting stakes.

"Dear Friends" is a vignette, very characteristic of Queen's mid-70s output. In many ways one of Brian May's most quietly touching lyrics, and a healthy counterpoint to the more elaborate material elsewhere on Sheer Heart Attack.

I suppose that the next two songs could also fall under the description of "vignette", representing a pause for breath before the climax. "Misfire" was the first John Deacon song to be included on a Queen album, and fits in perfectly here, with its ornate but joyful guitar sound and melodic verses. "Bring Back That Leroy Brown" is the kind of number which has invited comparisons with the eclectic nature of some Beatles albums, the delving back in time to styles favoured by the writer's parents or grandparents. Beautifully constructed, and with semi-humorous, tongue-in-cheek lyrics, this song also features "non-rock" instruments such as double-bass and ukelele.

"She Makes Me" is one of the most impenetrable and enigmatic songs ever recorded by Queen, and I wouldn't really like to speculate on what Brian's lyrics are alluding to. Largely constructed around acoustic guitars, and a futuristic drum sound, with Brian on lead vocal, this track has a haunting quality all of its own.

The album finishes with "In The Lap of The Gods... revisited", which became the concert closer for a time. One could dismiss this as a typical Queen "anthem", but the verses are beautiful, and Freddie's piano very prominent. I think that the closing repititions of the chorus are overdone, though, and by the end one has almost forgotten the finesse and spring of the verses.

So there we have it, an enjoyable and exquisitely paced album, which in some respects is greater than the sum of its parts. It still sounds fresh and vibrant to me after all these years, predominantly because the melodic nuances and personalities of the individual songs are given, and allowed, space to breathe and flourish.

I know that after a while, a large proportion of devoted fans gravitate to this one as their favourite Queen album.

Lewis Hamilton

2012-02-05T20:00:00.000Z

Having resisted the temptation to write a blog post about the current snowy weather here in Britain, I thought that I would offer my views on Lewis Hamilton, his prospects for the coming Formula 1 season, and his future in the sport. I realise that I am a bit late in the day with these thoughts, but here goes!

At the McLaren new car launch earlier in the week, Hamilton seemed re-focussed and newly energised. He can sometimes give the impression of being ill-at-ease, but I think this is a product of his natural demeanour. This sense of renewal and freshness looks quite genuine, and there is little reason to suspect any kind of smokescreen designed to deflect lingering concerns.

It is a good thing that Hamilton is winning the battle with himself, because he faces plenty of competition, not least from within the McLaren team. Last season the balance of power in the Woking outfit began to tilt towards Jenson Button, and there is no reason to believe that the position has changed fundamentally as we approach the onset of the 2012 campaign.

Although it is perhaps an exaggeration to conclude that Button is now the undisputed main man at McLaren, he has gradually asserted his influence and authority, all this aided by his general air of calm, serenity and self-confidence. Whether the team itself regards him as a more "natural" and archetypal McLaren man is difficult to judge. However, the detached observer may be tempted to view Hamilton as the outsider looking in, and Button as the man in possession, if only temporarily.

This shift in power among the McLaren drivers may appear magnified by their respective contractual positions at this time. Hamilton's current deal expires at the end of this year, whereas Button is more firmly ensconced. Hamilton has reiterated his wish to get contractual discussions out of the way, in order that he can devote all of his attention to racing. Looking at the options realistically available with other teams, it seems highly unlikely that he will not renew his McLaren agreement in some shape or form, however much financial and psychological brinkmanship takes place. So he will make a further commitment to the team, even if it does not feel as solid and long-term as that currently exuded by his team-mate.

It is interesting to examine Hamilton's possible motives in expressing a desire to sort out his contractual affairs sooner rather than later. Reading between the lines, a cynic might view these statements as reflecting a short to medium term need to get the media hordes off his back, rather than any intrinsic urge to reaffirm his loyalty to the team. We can certainly surmise that the minimising of distrations is a large part of his reasoning, and it was arguably distractions of various kinds which led to many of his difficulties in the past year or so.

Regardless of these other considerations, what Hamilton really needs to do is to drive quickly and consistently, and "show willing" within the team. If he does this, he may find that many of the peripheral issues take care of themselves also.

The fortunes of Lewis Hamilton, and his position within the McLaren scheme of things, will form one of the most interesting sub-texts in the early races of the upcoming season.

Das Boot

2012-02-03T22:30:00.000Z

In recent years, I have developed a real penchant for movies based on, or around, submarines. The particular atmosphere and circumstances of a sub and its crew make for great drama, and as a basis for examinations of human characteristics and foibles, there are few more fertile situations.

Many of these films were well-meaning but fairly minor in commercial terms, often made in the 1950s and 1960s on relatively meagre budgets, but with thoughtful scripts and above-average acting.

One submarine-orientated movie which made a major splash (pardon the pun) was "Das Boot", the German-produced work from 1981, which follows the fortunes of a U-Boat crew during World War 2. Just recently, I was fortunate enough to watch a full-length version.

The main thrust of the movie is a portrayal of how the psysche of the crew members is affected by isolation, fear and boredom. Some of the men prove stronger, and more resolute and robust than others. We are shown how personality and philosophical clashes can fester and thrive when people are forced by circumstance to live in close proximity to each other for any length of time.

Some of the most impactful scenes in the film were those during which the U-Boat is under attack from depth charges, with suspenseful moments while the men await their possible fate. Vulnerability, helplessness and terror are all emotions etched on the faces of the various submariners, These scenes are a vivid illustration of what it must have been like to serve in one of those vessels. When depth charges do explode near the submarine, the chaos and confusion which follows is dramatically conveyed.

The visuals in this film are a large part of its appeal, and I detected a Blade Runner type, almost dystopian aesthetic at times, with lighting deftly applied to project the darkness and eeriness inside the U-boat. The camera work also helps greatly to create the feeling of confinement.

As the mission goes on, despondency, resignation, fear, unease, tedium, unreality and fatigue all become factors. Throughout we see how the men find escape, through drunkeness, stupidity, comradeship, religion, work and duty.

Throughout, the film is cleverly held together by the narrative formed by the diary entries of a journalist travelling on the U-boat.

The commander, superbly and sensitively played by Jurgen Prochnow, comes across as a complex character, resilient but fatalistic, calm but with some insecurities.

"Das Boot" is unflinching and stark in its portrayal of the other "enemies" faced by the crew; the sea, the elements, the boat itself and the conduct of the war. There is little attempt to downplay the horrors and turmoil, and at times it is unsettling and uncomfortable viewing, but never less than absorbing.

The longer format allows full rein to be given to the development of characters and plot, and the shifts in their states of mind. The scenes in the bunk beds are especially grim and disturbing, but also occasionally comic.

A sense of loneliness also becomes sharper, with the men cut off from home, their bases and any potential help. News from the home front only aggravates these feelings.The dialogue becomes more monosyllabic and sparse as the ordeal grows more protracted and intense.

The research undertaken by the producers seemed quite meticulous and thorough, but the fruits of this, in the form of technical insight and detail, are not overplayed or over-emphasised, and are simply woven discreetly into the fabric of the movie.

During the film, we get to see all areas of the submarine, and not just the bridge and the areas frequented by the officers. This affords us a glimpse into the scale of the effort, and the differing perspectives of those discharging various roles.

In spite of the privations being endured, a kind of instinct still seemed to take over when it was time to engage in combat. Perhaps this was self-preservation, rather than glorying in the suffering of others, and as the film moves on issues of humanity and morality come to the fore more and more.

The nerves of the crew are frayed by being constantly in harm's way. Various forms of dissent, numbness, delirium and brinkmanship become more common, as thresholds of endurance are breached. Some men begin to question whether "successes" are justified by the toils which they are being put through. Weariness and skepticism grows.

In some ways the film is a study of what the human mind and body can readily withstand, and the differences between the tolerances of people in this respect. Faced with the unique circumstances of the U-boat, men have to adapt, survive and improvise. Some become almost impervious to the pain and fear, others go the opposite way.

Probably the most harrowing scene in the whole movie is that where an ailing merchant ship is sunk, and some of the U-boat crew witness the appalling plight of the sailors on board that vessel. They come face to face with the true horror of war, it having hitherto been distant and remote. The men in the water cease to be seen just as an adversary, but as fellow human beings.After this episode, the mood is more subdued and pensive. The attitude of the commander appears to harden, out of necessity, in the face of dissension from his subordinates.

The story takes a twist with the news that the mission is to be extended, taking a detour into potentially more hazardous territory. This has a demoralising effect on some of the men, but the officers remain curiously stoic.

This leads us on to another fascinating scene, where the U-boat effects a rendezvous with a German merchant ship off Spain. After their experiences, the submariners seem rather alienated from their surface-dwelling counterparts, who find it difficult to comprehend what they have been through. Also the luxury seen on the ship confuses the U-boat men, possibly more than anything because of the shock of new surroundings.

Some unity is restored by a display of insubordination by the Captain, and some sense of common purpose restored, albeit still tinged with uncertainty and tension.

Much of the rest of the film centres on the aftermath of an air attack off Gibraltar, following which the U-boat plumments to the sea-bed. The anxiety and terror displayed by the men during these sections is chilling, and the imagery and lighting used at this point almost gives some of the men the appearance of corpses. We also see the defiance and vigour of the human spirit in the desperate, and ultimately successful, efforts to rescue the stricken submarine.

The one area of this magnificent work which left me with some mixed feelings was the ending, which sees an air-raid occur just as the boat returns to port. The submarine sinks, and the commander loses his life. I am still unclear in my mind what this was intended to signify, apart from injecting a note of supreme irony. Perhaps it tells us that even as we emerge from one ordeal, the cycle begins again, and we are still vulnerable and potentially subject to forces beyond our control?

Despite my reservations concerning the ending, I still think that "Das Boot" is a momentous, courageous and thought-provoking film. And it set a benchmark for this particular sub-genre of movie which will never again be reached.

The McLaren Launch

2012-02-01T19:30:00.000Z

I duly cleared my hectic and overflowing social and professional diary to ensure that I would be by my laptop this morning to follow the launch of McLaren's 2012 challenger, the MP4-27.

As is often the case with these kinds of events, the anticipation was weightier than what was actually delivered. The white sheet was removed to reveal the shiny new creation, the drivers and team luminaries were interviewed by the assembled press, and sponsors name-checked at regular intervals.

I have always been somewhat ambivalent about F1 "launches" and "unveilings".  For somebody like myself, whose interest in racing revolves less around the technical side than the human and sporting aspects, they can be sterile and superficial. Many of the technological minutiae leave me cold, and the people involved are inclined to be guarded and non-committal.

Even allowing for this, I thought that today's launch was a touch one-paced.  I found the opening portion of it, when the car was unveiled and the drivers interviewed by the compere, to be awkward, and the banter stilted. One gets the impression that all concerned see the launch as a chore to be performed, almost with gritted teeth.

The F1 circus tends to go through phases and fads when determining how to launch its machines to an expectant world. From the mid-1990s onwards, there was a trend towards employing showbiz gimmicks (pop groups mainly) and using grandiose and prestigious locations. If we have to endure these ceremonies, my ideal would be the kind of thing we had today, carefully leavened and enlivened with a touch of razzamatazz, but not too much razzamatazz.....

I think it's fair to say that the MP4-27 is quite easy on the eye, and retains one of the most distinctive and effective liveries on the grid. There is a temptation to equate prettiness with expected performance in F1 cars, even if experience has shown that to be a facile assumption! However well the car goes, I would expect it to be more visually pleasing than most of its competitors.

When interviewed, Jenson Button seemed as calm, cheerful and confident as ever, these qualities perhaps reinforced by last year's events. Lewis Hamilton was his usual enigmatic self, but of course it is impossible to gauge likely fortunes for the year ahead from a stage-managed event such as this.

As the launch progressed, and we were introduced to more members of the McLaren "family", my thoughts shifted towards how the organisation might have changed in recent years, both before and after the withdrawal of Ron Dennis from the frontline Formula 1 effort.

Though I would not describe myself as a fanatical "fan"in the modern sense, McLaren has been the team which I have most admired, after my obligatory youthful Ferrari fixation began to fade. Even if it was to all intents and purposes a different team, I could detect a thread stretching back to the days of James Hunt, Teddy Mayer and Alastair Caldwell in the 1970s. I was also able to delve beyond the popular perception of the Ron Dennis era, as a dour and soulless operation, and develop genuine respect for the qualities and values which he and others instilled in the team.

How does the current set-up compare?   Well, the structure and basic ethos and culture appear little changed from the previous two decades or so, but perhaps lacking the dynamism and outright passion which was there in the past. This is not surprising, since many of the personnel are different. Also, the more mundane aura given off by the team these days is likely more indicative of how the world itself has changed. The true nature and likely path of the "new" McLaren is yet to fully reveal itself. It might be less overtly interesting than past incarnations, but could prove just as successful.

Martin Whitmarsh has always impressed me, from the days when I remember seeing him in documentaries in the early 1990s. Very businesslike, and able to act as a protective buffer between the media/fans and team members, even if in a subtly different way than Dennis did in the past. A calm, and quietly effective figure, if not quite as "hands on", visible or emotive as his predecessor.

Predictions for McLaren in 2012?   It is difficult to see them making any quantum leap forward, or plummeting backwards. Improvements will be incremental, as tends to be the case in F1 these days. We shall soon see whether the team's quiet confidence is justified.

Novak Djokovic v Rafael Nadal

2012-01-29T17:30:00.001Z

My original intention was to put together a fairly straightforward report on the Australian Open tennis final, but as events developed and unfolded in Melbourne this morning, my thoughts switched more generally to the quite glorious era currently being enjoyed by the men's game, and where things stand in the aftermath of Djokovic's victory.

I have been following top-level sport avidly since I was a small boy, in other words over three decades, and I can barely recall a time when a branch of sporting endeavour was serving up (please pardon the pun) such consistently engrossing a spectacle as men's tennis has over the past three or four years.

Although today's final arguably lacked the relentless technical excellence of some of the other encounters involving the Big Three (Federer, Nadal, Djokovic), it more than compensated with its sheer drama, raw emotion and constant fluctuations in fortunes and momentum.

If, like me, you are able to relish sporting competition as an examination and celebration of the human character and spirit, then this was a match to savour. Two athletes testing the very limits of their own endurance and fortitude, as well as that of their opponents. A contest of wills, as well as physiques and techniques.

After the conclusion of the match, it was also difficult to escape the feeling that we were witnessing another watershed, the moment where Djokovic affirmed his status as the world's foremost player, regardless of what the rankings computer has had to say.

The elevation of Djokovic to this status has been curious to behold, as in the eyes of the wider sporting public he possibly has a less vivid "tennis persona" than Federer or Nadal, and his qualities less immediately conspicuous or easily quantifiable. This is not meant as a criticism, by the way!

The "new" Djokovic is a very imposing proposition, as his talent and natural attributes are allied to a formidable mental and physical resilience, and an indomitable will to prevail. These latter things were seen to great effect at various junctures in the Australian final. Time and again the pendulum seemed to be swinging away from him, but he was resourceful and confident enough to overcome these troughs.

For reasons which I find hard to pin down, I have not always found it easy to warm to Rafael Nadal in the past. Maybe it had something to do with my "purist's" admiration for Roger Federer. Today, however, he went up in my estimation enormously, with his never-say-die attitude, and his infectious energy. Even when he was clearly physically fatigued, the instincts and drive were still clearly there in abundance. People in all walks of life, and not just sporting and tennis enthusiasts, could draw inspiration from Nadal's spirit and attitude.

So where does today's match leave the state of play in the upper portals of men's tennis? Have we turned another page, and seen the dawning of a new mini-era within this Golden Era, with Djokovic taking the game to places not even visited by Federer and Nadal? It might be premature to judge, but if this standard is maintained, the commentators and pundits may soon run out of superlatives....

Porridge (movie)

2012-01-28T22:30:00.000Z

It has to be said that the success rate of classic British sitcoms being turned into feature films is variable. Many fail to recapture the magic of the television series, and those who were devotees of the series are able quickly to discern essential differences and departures in terms of characters, backdrop and atmosphere. This makes it awkward to objectively judge the film, and purely on its own merits.

One which is not totally flawless, but succeeds better than most, is the cinematic spin-off of Porridge, the acclaimed prison-based British sitcom of the 1970s. I watched this earlier today, and I made a few observations.

Although made after the television show had come to an end, Porridge manages to appear as a "composite" of the series as a whole, with respect to characters, sub-plots and themes. It is reasonably plausible to imagine the story being played out within the context of the overall Porridge saga.

Some of the jokes and lines of dialogue are clearly re-cycled or adapted from the scripts for the television programme, but this will only be noticed by devotees of the BBC classic, and will not perturb or irritate the casual viewer at all. In fairness, there are some fresh and amusing one-liners and gags throughout, even if they feel slightly more stilted on celluloid than perhaps they would have done on TV.

More freshness and interest is provided by the characters unique to this movie, including the prospective escapee Oakes, the surly new inmate Rudge, and the self-satisfied warder Mr Beal. These additions help further to reinforce the notion that this film is a credible entity in its own right, rather than simply a straightforward continuation and extension of the TV series. There is a different governor, but he is just as hapless and toothless as the one in the original sitcom!

The longer film format allows certain sub-plots to be played out, including the introduction of the rather pathetic looking "officer's club", and the delights of Slade Prison cuisine.

Of course, much of the central appeal of Porridge stems from the interaction between Fletcher, Godber, Mackay and Barrowclough. The introduction of, and involvement of, more characters in the movie possibly dilutes this, and the inclusion of more scenes outside the prison buildings removes some of the intimacy which was such a compelling feature of the series.

Overall though, these are fairly minor criticisms. The central plot, of a celebrity football match being employed as cover for an escape attempt, is original, and also of course offers lots of comedic possibilities. The acting by Ronnie Barker, Fulton Mackay and others is exemplary, and the writing of Dick Clement and Ian La Frenais always has an infectious and endearing quality about it.

This movie does not quite possess the grit and unique charm of the television version, but judged as a work on its own it is entertaining and well produced.

Liverpool 2 Manchester City 2

2012-01-26T01:12:00.000Z

The noises emanating from Anfield in the build-up to Wednesday evening's Carling Cup semi-final second leg indicated that Liverpool were highly motivated for the match. It was also probably fair to assume that the trophy was accorded higher priority by Liverpool than it was by Manchester City. This, together with home advantage and a one-goal lead from the first leg, seemed on the surface to give Liverpool a slight but important edge.

Looking at the teams, Liverpool's and City's selections seemed to lack some genuine cutting edge up front, but both possessed ample options on the bench. City went into the game with two holding midfielders, in Barry and De Jong, and only one out-and-out striker. This seemed a little surprising, given the situation in the tie, even allowing for the caution of Roberto Mancini.

Anyway, there was a lively and feisty opening to the proceedings, with lots of midfield jousting. Liverpool sought to pose some questions early on, and Steven Gerrard's yellow card was symptomatic of their approach. Craig Bellamy was to the fore, but they were lacking the finish, or indeed that final ball.

In the first twenty minutes or so, Manchester City enjoyed some possession, but seldom in areas which constituted a threat to the Liverpool goal.

Liverpool managed to fashion an incisive move around the twenty-four minute mark, but Bellamy was correctly given offside. By this stage, Kenny Dalglish was showing signs of some agitation on the touchline, even though his team was in the ascendancy on the night, and in the tie overall. He clearly realised that the margin between success and failure was still quite meagre.

Sure enough, on thirty-one minutes, Nigel De Jong put City ahead with an absolute beauty of a shot, following some neat build-up work on the left hand side. Game on, as they say!

That goal seemed to rouse Liverpool from the lethargy into which they had momentarily sunk. As chances were still at a premium, I wondered to myself whether they would introduce Andy Carroll at some point, and go the more direct route. However, this did not occur, and instead the left foot of Stewart Downing began to exert more influence.

When the Liverpool equaliser came, it was by virtue of a contentious penalty award, after Micah Richards was deemed to have handled the ball. It seemed a little harsh, but in fairness Richards did have his hands up, which never helps a defender's cause, and the referee was in very close attendance, enjoying a perfect view of the incident. Whatever the merits of the award, Steven Gerrard duly converted the spot-kick, and there was some predictable remonstrating with Phil Dowd by the City players after the half-time whistle.

Even though they were behind again on aggregate, City were still very much in this tie, and they made a positive gesture by bringing on Sergio Aguero at the beginning of the second period.

Liverpool maintained their impetus at the start of the second half, and Joe Hart was forced to make several classy saves. After he superbly denied Martin Skrtel, there was a lovely little moment when Dirk Kuyt gave the goalkeeper a little pat on the gloves, to acknowledge the quality of the save. Proof that chivalry and sportsmanship still exist in the hard-nosed world of professional football!

As the half progressed, more space became available, as Liverpool looked for the clincher, and City strove for a goal of their own. This striving eventually paid off, as the otherwise ineffective Dzeko made it 2-1.

City's joy was short-lived, however, as not long afterwards Bellamy levelled matters again with a fine goal after a pleasing move.

In trying to force extra-time, City made little headway, and in the end Liverpool were able to hang on relatively comfortably for a 3-2 aggregate triumph.

The auguries for Liverpool were favourable before kick-off, and overall they exhibited more desire, as well as having more incentive, even if they benefited from that controversial penalty decision. Their joy and relief was reflected in Dalglish's elation at the final whistle.

So a Liverpool versus Cardiff final at Wembley. The Merseyside team will be strong favourites on paper, but as we all know, football is not played on paper, it is played on grass!

Kimi Raikkonen's Valencia Test

2012-01-25T02:00:00.000Z

Well, both the Lotus team and Kimi Raikkonen have been making positive noises following the conclusion of the former world champion's comeback F1 test in Valencia.

The Finn clocked up some solid mileage, and also began to become acquainted with his new team. Of course, lap times were meaningless, given the machinery at Raikkonen's disposal during the two-day tesing session, and the absence of benchmarks, and we may only start to deduce pointers to the potential of driver and team once the serious pre-season testing commences with the 2012 cars.

Kimi, rarely the most outgoing or effusive of men, seems genuinely enthused and stimulated by the prospect of driving in Formula 1 once again, and needless to say it is a very welcome and heartening sight for fans to see him back where he undoubtedly belongs.

The team too has been saying all the right things, clothed in the usual F1 PR-speak. They will be relishing the chance to work with a truly top-line driver, who can be expected to drive the car to its limits, and by so doing motivate and excite the team personnel.

One of the fascinating things about the 2012 season will be to find out whether Raikkonen is capable of leading what is ostensibly a "higher midfield" team to greater things by allowing his natural talent to "lead from the front". Perhaps in this environment we will also see aspects of Kimi's make-up which have not previously been overly apparent. He is certainly eminently capable of taking a car to places which it does not "belong", but the human and political facets will also be crucial.

I have been following F1 racing for far too long to be unduly swayed or convinced by pronouncements emanating from pre-season tests. The smiles and brave words on windswept and lonely tracks often mean little once serious combat gets under way, and harsh, cold reality makes its presence felt.

All the same, Raikkonen and Lotus seem to be moving in the right direction, ready and eager to face the challenges which lie ahead.

Late For The Sky - Jackson Browne

2012-01-24T11:30:00.000Z

On internet forums, and in the media generally, it is commonplace for people to be asked to name their "top 10 albums" or their favourite album of all-time. The centre of gravity of my musical tastes constantly shifts, but for around a decade and a half, pride of place at the top of my list has been occupied by Jackson Browne's 1974 work, "Late For The Sky".

I had been aware of Jackson's music, but mostly through his more glitzy and commercial singles of the 1980s. It was only when I became a fan of the Eagles that I discovered his classic 1970s material. The Eagles and Jackson were label-mates, friends and songwriting collaborators in the early Seventies, and I was persuaded therefore to look into the Browne canon.

As soon as I heard "Late For The Sky", it struck a chord, both melodically and lyrically. I actually came to it after hearing three or four of Jackson's other LPs of that era, and it stood out from those efforts in several ways. The instrumentation and arrangements were more spartan and stripped-down than the previous "For Everyman", with its layered acoustic guitars and keyboards. On "Late For The Sky", one is aware of greater separation, through which the inspired lyrics are able to project themselves.

In addition to the technical musical differences, the themes and concerns examined in the songs seem more focussed than before, and Jackson is generally less oblique and cryptic in telling his stories. This extra focus adds to the emotional impact of the songs, as they zero in on the hearts and minds of the listener with more clarity, and the album feels more like an overall "experience", certainly compared to its two predecessors.

In its entirety, "Late For The Sky" is the most compelling showcase for Jackson Browne's special capacity to both tug at the heart strings, and stimulate the grey matter. Some of the subjects explored may have had peculiarly contemporary resonance in 1974, but they have proved to be timeless, and indeed to me the songs are more relevant than ever.

Considering that we are dealing with a classic album, it seems churlish to refer to "filler", but two of the songs, "The Road and The Sky" and "Walking Slow", have to be described as such. I suspect that they were included to offset and ameliorate the effect of the meatier and more profound fare around them. For the purposes of this review, I will therefore disregard these two tracks, and concentrate on the six numbers which form its solid and enduring core.

The opener, and title track, introduces us to the type of backing we can expect throughout the album, Browne's piano and David Lindley's evocative and wonderfully brittle guitar are supported by some subtle, and at times almost inaudible, organ work. The lyrics of this song are the bleakest of all, seemingly concerned with the break-up of a relationship. Film fans may recall the song being employed to telling effect in the movie "Taxi Driver"

On this work, Jackson seems to have enlisted the help of various people to help out with vocal harmonies, and they are a feature of this album, helping to create quite a gritty effect, consistent with the overall tone. Jackson himself sings more passionately on these tracks than at virtually any stage of his career. Whether this was intentional, or just a function of his development as a vocalist, is difficult to say. The pleading phrasing ideally complements the words.

Track two, "Fountain of Sorrow", is the longest on the LP, and also the most lyrically impenetrable. To be truthful, I have never fully made my mind up what the metaphors here are alluding to, but this is a beautiful and intelligent piece of work. The instrumentation is even more sparse than on the title track, and Browne's voice captured with greater clarity, supported by some more substantial backing vocals.

Next we come to "Farther On", a song which had a major effect on me almost from the first time I heard it. Rarely can an instrumental part have been as apposite as David Lindley's weeping lap steel is on this. The song muses, reflects and laments upon the passing of time, and frustrated ambitions and hopes, but also celebrates humanity and its compassion and eternal optimism.

The thoughts and sentiments being expressed here will seem relevant and powerful for people, most probably those in their thirties and forties. What still seems remarkable, not just about this song but most of those on "Late for The Sky", is that Jackson Browne was writing cohesive statements like this in his mid-twenties.

"The Late Show" is marginally less demanding than the numbers preceding it, but has some very thoughtful lines, accentuated by an appealing, wandering melody. Vaguely "country rock" in nature, but with more complex lyrics than would be expected from that genre, it touches on many of the themes central to the album.

A song addressing the subject of death, "For A Dancer", stops well short of descending into the maudlin, and is a deceptively simple but incisive piece, curiously hopeful in areas. David Lindley's violin is used effectively but sparingly.

"Before The Deluge" is a song which tackles apocalyptic and utopian anxieties, continuing on from "For Everyman", but it also expands its reach into environmental issues, which were to become a recurring feature of the songwriter's career. Some may consider the lyrics dated, naive and even quite mawkish, but I see them as courageously idealistic. Lindley's violin is more integral to the melody, and there are some delicate but unobtrusive organ flourishes.

It seems appropriate that this song, with its concentration on social concerns, finishes the album, which itself closed a phase in Jackson Browne's career, the "singer-songwriter" period. From now on, "non-confessional" topics would gradually assume greater importance.

In itself, "Late For The Sky" probably represents some kind of high watermark in the California singer-songwriter "movement". It may not have been Jackson Browne's best-selling album, but its emotional pull and understated quality shine like a beacon when assessing his discography.

At every opportunity, I try to encourage people to listen to this album, stressing what a thought-provoking and rewarding listen it remains.....

Persona - Ingmar Bergman

2012-01-23T12:00:00.000Z

Earlier this evening I watched Persona, a remarkable Ingmar Bergman film from 1966.

The film stars Liv Ullmann as an actress who suffers some form of breakdown, and becomes unable (or unwilling) to speak as a result. A nurse, played by Bibi Andersson, is detailed to look after and care for her.

The pair eventually decamp to a secluded seaside retreat, which is where the most intriguing sequences in the movie unfold. The nurse Alma bares her soul to the actress Elisabet, in some gripping scenes. The dialogue here is quite explicit and frank, considering that it was 1966.

As their time together progressed, it seemed that in some respects Alma absorbed aspects of Elisabet's personality, and that some general merging of personalities took place. What happened is open to several interpretations, but Alma was ill-equipped to cope with assuming facets of the actress's persona, including her demons and insecurities.

One of the cleverest parts of the film occurs where Alma recounts some details of Elisbet's personal and family life to her. First of all, we see an image only of Elisabet's reaction to the revelations, and then the same dialogue is played again, but this time we just see Alma speaking the words. My guess is that this effect was designed to convey the idea of "transference".

A quite disturbing, complex but nonetheless riveting film, with some trademarks of other Bergman movies, such as solitude, astute use of black and white, a secluded location, and images of rocks, beaches and waves.

I was highly impressed with the performance of the beautiful Bibi Andersson, as the nurse Alma, and Liv Ullmann is never less than fascinating to watch.

Manchester City 3 Tottenham 2

2012-01-22T18:13:00.000Z

I must confess that in recent weeks I have been going through another of my "not that interested in football" phases, but today's earlier Premier League kick-off between City and Spurs caught my attention, and I felt encouraged to watch it. Two teams not accustomed in recent times to contending for the title, which have given the higher end of the Premier League a fresh new look.

Beforehand, I felt that this game was crucial to Spurs in particular, and constituted a big barometer of their potential and ambition for this season.

It was a purposeful beginning by Tottenham, confident and positive. Other early impressions of mine - it was a pristine playing surface, and also great to see Ledley King back, and looking good.

Spurs were quite tenacious in the tackle in midfield in those early stages, and their attacks were largely concentrated down both flanks, hinting that they sensed some vulnerability in the City rearguard. Luka Modric began to prompt more and more, and it was a pleasure to see players of finesse and craft, like him and David Silva, on the same pitch.

After the first ten or fifteen minutes City started to assert themselves a touch more. Around the seventeen minute mark, they should have opened the scoring, but Aguero and Dzeko contrived to get in each other's way in the penalty area.

Tottenham were still pressing, but were not carving out much in the way of clear goalscoring opportunities. Their shooting and delivery were not always of exemplary quality.

It seemed to me throughout this match that Manchester City were the more direct of the two teams, and also the more cautions, negative even, playing deeper, and often relying on long balls to the strikers and counter-attacks.

Admittedly, both sides were lacking cutting edge in that first period, even if Spurs were the more fluent in passing and movement. Still, they were largely restricted to speculative efforts and free-kicks. City enjoyed less possession, but created the clearer openings.

So, an inconclusive and even pedestrian first half.

Immediately after the break, City began to dictate more, and indeed the game itself was more open, the participants less inhibited and cagey. On fifty-six minutes, Spurs were carved open by David Silva, and Samir Nasri, hitherto little in evidence, supplied a quality finish.

After that first goal, the cultured left-foot of Silva threatened to run the show, and City gained much impetus. However, in the event it was a goal of little elegance by Lescott which put them 2-0 up. As the saying goes, they all count!

That second goal should have set the seal on City's command over the game. But Tottenham employed a little "route one" of their own, found City slumbering, and Jermain Defoe finished coolly. Character and resolve from Spurs, and no doubt fury on the part of Roberto Mancini.

After the flurry of goals, the game became noticeably stretched, with the pace at Spurs' disposal posing a threat. However, it was a touch of real panache by Gareth Bale, chipping over the goalkeeper, which levelled things up. Bale made the execution of the goal look easy;always indicative of a quality player.

The second half of this match was trademark Premier League fare - frantic, breathless and compelling. It seemed to pass much quicker than the first, which is generally a good sign! As ever, Scott Parker got through mountains of selfless and unglamorous work, often in a defensive capacity.

After the score went to 2-2, Spurs assumed some kind of control, looking the more compact of the two teams, whereas City were more pragmatic in their approach.

Although the penalty decision looked to be correct, the injury-time penalty was harsh on Spurs, and the scoreline served to flatter City.

What did we learn from this game? Well, the jury is still out on these two teams. Tottenham are not certain title-winning material, but equally cannot yet be dismissed. They matched their opponents in most departments this afternoon. Questions possibly remain about City's tactical approach.

Just how important could that last-gasp penalty be come May 2012?

Abba

2012-01-20T16:00:00.000Z

Pretty much as with the Beatles, Abba are one of my musical reference points, a group to whom I always gravitate in times of uncertainty and transition, and not just because alphabetically they turn up at the beginning of most music libraries....

In years gone by, Abba were commonly described as a musical guilty pleasure, but were being given credibility by name-checks from some of music's luminaries. Now, I sense that although Abba have been subsumed once again into mainstream acceptance, the almost forced sense of irony involved with admitting to liking their music has largely disappeared. In the scheme of things, they are positioned where they should always have stood.

When analysing Abba's career progression, it is tempting to divide the timeline into three distinct phases. The early years (1972-75), the middle period (1976-1979), and the end (1980-82-ish). Whilst this is a convenient method to use, and does have an element of truth to it, it is also an over-simplistic way of assessing the course of events.

Certainly, the early material has a flavour all of its own, with a noticeable Phil Spector/girl group influence. Although Benny and Bjorn were still finding their style, and developing, the sense of pop craftsmanship is definitely present, with the understanding of how to structure songs and inject hooks to pull the listener in. The lyrical gravitas and glossy production were still in the future, though.

For all its quintessential "Eurovision" qualities, "Waterloo" in some respects pointed the way forward, lacking some of the naivete and "syrupyness" of the other Abba songs of that era, and displaying a greater sense of cool and self-assurance. It is telling that this is one of the few of the early efforts which still sounds artistically relatively "heavyweight" alongside their later output.

The year 1975, and to some degree 1976, were ones of transition for the group, as they evolved and the music became more mature and the "bubblegum" elements were gradually discarded. The song "SOS" is often cited as pivotal in this process, with its mournful-in-places melody and more reflective lyrics. Light and shade were also being increasingly used to great effect, slower passages contrasting with the up-tempo parts.

The following two years arguably represented Abba at their peak, as the most appealing attributes which dominated the three "phases" were all present to an "acceptable" level. Pop sensibility, studio inventiveness and universal and more adult lyrical concerns coalesced to form a most agreeable and effective mix. The singles of that time, "Dancing Queen", "Money, Money,Money", "The Name of The Game" and "Take of Chance On Me", contain these ingredients.

I still maintain that "Dancing Queen" is one of the crowning achievements in pop,encapsulating all the exhilaration and exuberance of the genre. Perhaps relying on those famed hooks more than any other Abba hit, it also betrays signs of the increasing production and instrumental complexity which was to be a hallmark of Abba's later work.

The euphoria and ebullience of "Dancing Queen" was matched by the sophistication and self-confidence of "Knowing Me, Knowing You", and "The Name of The Game". The latter track is my favourite Abba single, mainly because of the (relatively) elaborate but compelling structure of the song, with its many twists and turns, and the restrained and tasteful backing track, which allows the song to breathe. "The Name of the Game" does not try to draw attention to itself, but this is one of its main virtues. Abba at their absolute zenith.

It could be said that the period of 1978/79 was one of some uncertainty and aimlessness for Abba. It would be harsh to use the phrase "treading water", as the music which they produced was still excellent, and successful commercially. However, after the giddy heights of the then recent past, they seemed to be looking for a direction.

Some of the 1979 songs ("Angel Eyes", "Chiquitita", "Does Your Mother Know") are somewhat frivolous, lightweight even, when set against what had gone just before, but they still had that essential stamp of Abba quality. I have always had a soft spot for "Angel Eyes", with its infectious Motown-esque melody and simple but sad lyrics.

The last two to three years of Abba's career were uneven by some definitions, but as is well known, showed the lyrics becoming more personal and introspective, reflecting a natural maturing as well as the members' personal concerns.

The songs were generally less instantly likeable and accessible, but possibly appealed to a different, older audience. When listening to this later work, whilst appreciating the musical nuances and the thoughtful lyrics, it is hard not to shed a tear for a whole era, the loss of innocence and the death of a dream. Harsh reality supplanting youthful optimism.

The song "One of Us" I think signifies the beginning of the end, with its reflective words and sombre tune. Even the instrumentation signals a further break with the past. The late-period songs of Abba evoke a feeling of "autumn" more than most other groups in my experience, even the Beatles, who maintained some semblance of their old exuberance even on "Abbey Road". The contrast between "Take A Chance On Me" and "The Day Before You Came", recorded only four years apart, is pronounced.

For all of the above, my main conception of Abba is the group who in the mid-to-late 70s, and at various stages before and after, took high-quality and entertaining pure pop music to new heights.

Rubens Barrichello

2012-01-18T19:00:00.000Z

With the news, as expected, that Bruno Senna will fill the one vacant seat at Williams for the 2012 season, another Brazilian driver is contemplating what looks like the end of the one of the most distinguished and eventful of all Formula 1 careers. With characteristic good grace and class, Rubens Barrichello wished his successor good luck, but where does he himself go from here?

I first came across the name Rubens Barrichello in 1990, when my interest in motorsport was at its height, and I avidly devoured news of the goings-on in the junior formulae. In winning the intensely competitive GM Lotus Euroseries, the novice exhibited not just a fine turn of speed, but also some of the subtler qualities which separate the potential World Champion from the mass of raw and eager youngsters.

There was more of the same in British Formula 3 the following year, as Rubens engaged in a lively tussle for the title with David Coulthard, eventually emerging triumphant. I seem to recall that he occasionally had some difficulty getting off the starting line, and this made for some entertaining racing, something not always prevalent in Formula 3!

Rubens continued his motor racing education in Formula 3000 in 1992. He did not meet with the instant success enjoyed in the previous categories, and there must have been the fear, seemingly endemic amongst young drivers, of an imminent career plateau. However, any worries proved unfounded, as he was signed up by the Jordan F1 team for 1993.

As soon as he entered the highest echelon of the sport, Rubens showed that he belonged there, with his maturity and natural talent. The 1994 season brought conflicting emotions, with points on the board, but also the trauma of a serious crash in practice at Imola, and the death of Ayrton Senna.

The capricious form of the Jordan team dictated that the following two campaigns did not improve markedly on what had gone before, and Rubens must have been delighted with the chance to drive for the new, but well equipped, Stewart team for 1997. His second place at Monaco was memorable, prompting emotional scenes, including tears from Jackie Stewart himself.

By now, Rubens was regarded within the F1 fraternity as a fast, reliable and technically adept performer, as well as a consummate team-player. It must have been somewhat galling, therefore,that when the Stewart outfit notched up its first victory, at the Nurburgring in 1999, it was team new-boy Johnny Herbert to whom the cards fell, although the Brazilian hid any disappointment with his usual good humour and grace.

Now came the call from Ferrari, and although he was playing second-fiddle to the great Michael Schumacher, at least Rubens had the theoretical possibility to be a contender for race-wins and podiums at every Grand Prix. His outpouring of emotion and joy on the podium at Hockenheim after his first F1 victory was both moving and engaging, and everyone in the sport was genuinely delighted that he had achieved that richly deserved milestone.

The rest of Barrichello's tenure at Maranello brought more Grand Prix wins, but also controversy and debate concerning his precise role within the team, and his relationship with Schumacher. Whatever reservations Rubens may have harboured, he got on with his job professionally and assiduously, reinforcing his reputation as a steadfast and conscientious customer, as well as a "good bloke".

After the dizzy heights and tumult of the Ferrari years, the rest of Ruben's career was perhaps destined to be an anti-climax, but a renaissance of sorts occurred in 2009, with the almost fairytale exploits of the Brawn equipe.

The time with Williams has been frustrating, but Rubens usually managed to maintain his dignity and optimism.

His strenuous efforts to remain in F1 at the end of 2011 indicated that his motivation and desire remained intact, but can he adapt those competitive juices to other, less exalted, forms of motorsport? The DTM, Indycars and endurance racing all remain theoretical possibilities.

If this is indeed the end of Rubens Barrichello in F1, it will feel strange without him. Many fans will not have seen a race without him competing. In many respects he has set a benchmark for how drivers conduct themselves, overcome adversity and maintain motivation and focus.

Whatever the future holds for Rubens, the best of luck to him.

Tears and Goosebumps

2012-01-17T18:00:00.000Z

Life is always enriched and intensified by experiencing some transcendental and ethereal piece of art. As I write this, I am listening to "Adagietto", the fourth movement of Gustav Mahler's Symphony no.5.

Brought to the attention of the mainstream by its prominent inclusion in the film "Death In Venice", this is now one of my favourite pieces of music, and to think that I only discovered it at the age of 40....

"Adagietto" is one of those works which, if the listener is not concentrating fully, can float innocently by, just occasionally intruding to remind one of its power and aesthetic charm. However, if the listener immerses himself or herself fully, they can be transported onto another emotional plain.

When listening to the piece, rather than think that I am hearing an orchestra, I think of the sound rather as an amorphous force of nature, with the individual instruments almost indistinguishable.

At the risk of appearing trite and corny, I would like this piece of music to be played at my funeral.

On occasion, "Adagietto" has induced lachrymosity in me, hence the title of this blog post!

For "goosebumps", or indeed a shiver down the spine, the music of Richard Wagner emphatically delivers the goods. I discussed an example of my interaction with Wagner's work in an earlier blog post:

It's Only Music, Or Is It?

The tears precipitated by Mahler's piece may have been due to its poignancy, or perhaps just its pure beauty; I am not totally sure. Equally, Wagner's fabulous "Siegfried Idyll" may give me the shivers, but I struggle to explain away the precise reason.

Great and potent art, and especially music, penetrates our very being, our innermost psyche and soul, in ways which we cannot hope to properly analyse, and the random and imponderable manifestations of that penetration are part of the mystery and the beauty.

I prefer not to dwell too much on these factors, just relishing the music, revelling in the sensations which it provides, and leaving more high-brow deliberations to the self-appointed experts!

Donna Summer

2012-01-14T11:00:00.000Z

Just lately, much of my music listening time has been occupied with acquainting, or reacquainting, myself with some of Donna Summer's disco epics from the 1970s, in particular some of the extended mixes.

I was already familiar with the "single" versions of such tracks as "MacArthur Park", "Hot Stuff" and "I Feel Love", but exploring the 12 inch versions of these and other tracks has been revelatory, to say the least.

Several emotions and thoughts were aroused in my mind whilst listening to these songs. Firstly, the technical quality of the recordings, which were quite advanced for their time. The productions were very lavish and luxuriant, and the occasional use of session musicians from the rock milieu added a different dimension.

It is also noticeable how some of these tracks still sound quite fresh today, and not dated like so much "disco" music of that time. This is probably because they exist and operate "out of time". The extent to which Donna's work with Giorgio Moroder and Pete Bellotte was influential on later dance music, and "dance-pop" is sometimes forgotten.

More than anything though I was touched by how these tracks were emblematic of a whole era, of a time of social uncertainty, and attendant hedonism and escapism. There is a sense of being in a delightful cocoon, insulated from the normal cares of life, and also from time itself. I guess this is how many clubbers in the 70s must have felt when dancing along to the cuts.

Something else which is very apparent is the hypnotic quality of several of these songs, not just rhythmically but also melodically. The judicious use of synthesizers and other such new innovations, combined with strings and brass, and the normal guitar/bass/drums set-up, produced a very warm and enticing mixture. There is little doubt that the arrangements were done in this way, to affect the listener and dancer in a particular way.

"I Feel Love" certainly has that feel, although it does not have the warmth or charm of most of the others. Ahead of its time, and affecting in its own way, but maybe off on a tangent in our present context.

The awesome "Love to Love You Baby" has things in common with "I Feel Love", but is much less hard-edged, and therefore more seductive and inviting. If a sexier record has ever been made, I would sure like to hear it! This is what I was getting at when talking of a hypnotic style, and in the case of "Love to Love You Baby" the full sixteen minute-plus version has to be heard to gain the full impact. The instrumental passages in particular can transport the listener to a different plane, and become almost transcendent. Oh to have been young and virile, and a regular frequenter of discos, when this song was first released!

Some of the songs may have surreptitiously penetrated the mind and body, but others relied on musical sophistication and the power and potency of Donna's vocal talents. This is perhaps best exemplified on "Heaven Knows", "Last Dance" and the monumental "MacArthur Park Suite".

Above all, perhaps, "Last Dance" encapsulates many of the themes which we have examined here. The lyrics typify the carefree, "let's forget about tomorrow" ethos of much of the best disco music, but they are set against a complex and infectious melody, and an arrangement which perfectly complements these elements.

"MacArthur Park Suite" is a feast for the senses, and possibly the most ambitious and outlandish of all of these works. Deftly employing "light and shade", and cleverly constructed, it comes across like a defiant and extravagent "last hurrah" for a whole era.

Listening to these records has reminded me of a time when music had the power to entertain, amuse and enthrall, but also to inspire and transcend.

Now I just need to seek out some retro disco clubs in my area.....!

Golden Era?

2012-01-13T18:01:00.000Z

In a recent interview, Fernando Alonso suggested that the 2012 driver line-up will be the strongest in the history of Formula 1, with six world champions on the grid, and other notables such as Massa and Webber also out there.

This claim has also been advanced by some fans and members of the media, but does it stand up to scrutiny? Whilst statistically the CVs of the class of 2012 will make impressive reading, other factors need to be examined.

Two of the six champions in the field will be Michael Schumacher and Kimi Raikkonen. The German cannot be said to be at his peak, whilst the Finn is returning from an F1 hiatus. There is also an argument for saying that the statistical accomplishments of drivers in this current era are distorted by the polarisation of resources, and therefore success, amongst two or three teams. Smaller grids also mean that there are fewer also-rans diluting the quality of the grid.

So which other periods in F1 history can claim to have had comparable, or superior, depth of driving talent? Well, the mid-to-late 1970s, prior to the retirement of James Hunt and Niki Lauda, were very strong in this respect. In addition to Lauda and Hunt, we had Mario Andretti,Carlos Reutemann, Ronnie Peterson, Jody Scheckter, Clay Regazzoni, Patrick Depailler, Carlos Pace, John Watson and others. The racing at this time was fantastically competitive, and the victories were therefore spread around more, meaning that many careers left more of an indelible mark in the minds of fans, rather than in the record books.

Similar claims could be made for the 1960s and early 1970s, the "Jim Clark" and "Jackie Stewart" eras, and of course the issue of safety has also to be taken into account when making an assessment. Careers tend to be longer nowadays, cars are more reliable and there are more events on the calendar.

In truth, it is very difficut to make a direct comparison, because racing has changed out of all recognition over the decades, but I would simply counsel caution over possibly inflated claims made about the quality of the current grid. By any objective standard, it is indeed a formidable line-up, but people would also be well advised to consult the history books in order to acquire some perspective....

BBC 2012 F1 Commentators Announced

2012-01-12T09:52:00.000Z

After much feverish speculation and rumour, the BBC has announced its commentary line-up on both television and radio for the 2012 season.

As expected, Ben Edwards is confirmed as the main commentator for the TV coverage. As I have previously blogged, this appointment meets with my wholehearted approval, based on my experience of Ben's work in the past, in F1 and other areas of motorsport. I think that "casual" fans, who perhaps are not too familiar with him, will find his commentary style to be both entertaining and informative.

It was crucial, in the interests of continuity and credibility, that the BBC retained the services of the trio of Jake Humphrey, David Coulthard and Eddie Jordan, and their presence in the coverage will give some re-assurance that this is "business as usual", despite the revised rights deal.

The hiring of Gary Anderson as technical analyst is also an intriguing move, and perhaps a sign that the BBC is looking to balance up the easy-going accessibility of the show with some content which appeals to the F1 "anoraks" out there.

I appreciate that this view may place me in a distinct minority, in the UK at least, but I also warmly welcome James Allen's appointment as the lead commentator for the Radio 5 Live coverage. The tendency of many F1 fans to constantly denigrate James has always slightly mystified me. I have always liked him, and his enthusiasm and knowledge always shines through. Next year, I hope that listeners will approach things with an open mind, and at least give James a chance to prove himself.

York

2012-01-11T20:22:00.000Z

Some photographs which I took in York earlier today:

Mark Hughes and QPR

2012-01-11T14:16:00.000Z

One of the least earth-shaking pieces of recent football news was the decision of Queen's Park Rangers to dispense with the services of Neil Warnock, followed by the swift enlistment of Mark Hughes as his successor.

What was the thinking behind this change at the helm at Loftus Road?

One of the salient factors would have been the realisation that relegation was looking a distinct possibility, and that the position would probably only deteriorate if the status quo was allowed to persist. Making the switch now at least gives the new man the opportunity to assess the playing talent at his disposal, and strengthen the squad during the transfer window.

Why Mark Hughes, or somebody of his ilk? There is a perception within the game that the Welshman is a "big name", with the cachet to invigorate the club, and to attract "big name" players. Also, recruiting Hughes fits in with QPR's self-image as a club going places and ascending the footballing pecking order.

It is also true to say that Hughes has ample untapped potential, and can develop in parallel with the club. Whether he will be given sufficient time to realise his potential in West London remains to be seen...

The first task of the new boss looks like being to guide Rangers away from the drop zone between now and May.

Arsenal 1 Leeds United 0

2012-01-09T23:10:00.000Z

Prior to tonight's FA Cup Third Round tie at the Emirates, I was slightly unclear in my mind whether the match represented an unwelcome hindrance to Leeds, in view of their league woes, or whether it would be a pleasant diversion, permitting the team to operate without the usual pressure, or rather with a different set of pressures to normal.

On paper, the team fielded by Simon Grayson looked comparatively attacking in nature, although this was probably forced on him by the club's daunting injury list. I thought to myself, very optimistically, that this was a bold move, designed to ensure that, one way or another, Leeds would not be encumbered by the prospect of a replay. Arsenal were not totally at full strength, but still looked formidable, with bounteous options on the bench, including one Thierry Henry.

In the event, the Leeds line-up was not allowed to express itself, because from the outset Arsenal settled into their familiar pattern of retaining possession, and creating elaborate passing movements. This was not unexpected, but Leeds contained them, and weathered the early "storm", such as it was. In those early minutes, Leeds displayed little in the way of attacking thrust.

The best effort which Leeds could muster in the first half was a shot over the bar by Luciano Becchio, on 23 minutes. He could probably have done better.

On the whole, however, Leeds defended solidly and quite resolutely in that first period, repelling whatever was thrown at them, although admittedly this was not very much.

In my notes at half-time, I speculated whether Arsene Wenger would make changes at the interval, as Arsenal desired a replay even less than Leeds. Their efforts on goal had been restricted mainly to long range shots and a few tame headers. As it turned out, the pivotal substitutions did not occur until later...

The sight of Henry warming up early in the second half appeared to spur the Gunners on, although Andrei Arshavin continued to be wasteful in front of goal.

"Attritional" may be the best term to describe the Leeds performance immediately after the break, save for an early surge down the right-hand side. Arsenal gradually began to pose a more sustained threat, and Leeds were forced back more and more.

Of course, the crucial intervention was made by that man Thierry Henry, brought on just before three-quarters distance, along with Theo Walcott. The way that these things tend to pan out, it was almost inevitable that the returning legend would get his name on the score-sheet!

As the North London team pressed more , they left a few gaps behind their defence, but Leeds were unable to exploit this, or capitalise.

On balance, Arsenal deserved their victory, for playing the more enterprising football, and having the lion's share of the attempts on goal. They made all the running, even if they looked laboured at times.

So where does this leave Leeds' season? Well, they are out of the Cup, which is never a good outcome. On the other hand, there is no replay to clog up their fixture list, and some aspects of this evening's display, such as the resilience and organisation which they showed, might instill some badly needed confidence and morale. We shall see....

Never Again

2012-01-06T18:31:00.001Z

On Thursday I blogged on my trip to Manchester:

Manchester

For reasons which not detain us here, my train journey home was considerably delayed. This meant that I became caught up in the evening rush hour at railway stations in both Bradford and Leeds.

If there was ever an acute illustration of why I am glad to be out of "the rat race", and pursuing fresh avenues in life, this was it. I was surrounded by stressed and miserable people, and the sense of regimentation and soullessness was overwhelming.

It felt strange to be observing this spectacle as a spectator, rather than as an active participant. I could not help reflecting that some of those people would fall prey to the same issues which befell me two short years ago, but I also found myself hoping that those who felt constrained and stripped of their individuality would find some means of escape.

Manchester

2012-01-05T18:57:00.000Z

Today was the first day of 2012 when the weather conditions were even remotely conducive to a trip outside my immediate locality, and I selected Manchester.

I have visited Manchester quite regularly during the past eighteen months or so, and I continue to warm to it, in particular the vibrant and pleasing juxtaposition of the old and the new, the modern and the traditional. I hope that these pictures, which I took today, amplify this point:

What the pictures cannot hope to convey is just how cold it was in Manchester today!

The White Album - The Beatles

2012-01-03T18:00:00.000Z

Between the end of 1967 and the early months of 1968, the Beatles underwent some changes, and it can be argued that this period represented a watershed in their career.

They began 1968 by recording the single "Lady Madonna", and then decamped to a spiritual retreat in India. Meanwhile, plans were being laid for the the formation of the Apple company.

Both during the sojourn in India, and in the immediate aftermath, the band members composed lots of new songs, and many of these found their way onto the eponymous double album more commonly referred to as The White Album.

The recording sessions for this work revealed the first hairline cracks in the Beatles facade, cracks which gradually developed into fissures. However, for me The Beatles is one of the most fascinating, if enigmatic, areas of the group's catalogue.

Many rock historians have interpreted the content and atmosphere of The White Album as a retreat from the psychedelic excesses of the previous two years, a trend also reflected by the Rolling Stones' Beggars Banquet, and the output of the likes of Bob Dylan, The Byrds and The Band around the same time. Many of the songs have an acoustic, rustic feel to them, and this is also a product of the circumstances under which they were written in India.

In addition to the stripped down nature of some of the numbers, there are also signs of a return to the band's rock n roll roots on "Back in the USSR", "Birthday" and "Everybody's Got Something to Hide Except Me and My Monkey". Notwithstanding this general return to a simpler and rootsier sound, the experimental was not totally abandoned, as evidenced by some of the contributions of John Lennon, notably "Revolution 9".

I see The White Album as one of the crucial stepping stones in the transition from "pop" to "serious" rock music. That said, the lyrical content of the tracks on this album varies from the esoteric ("Happiness Is A Warm Gun") to the downright banal ("Rocky Raccoon"). The eclecticism is a large part of the LP's charm, and I think that those who said that a condensed single album would have been a better option are missing the point. The vignettes and fragments are the glue which hold things together.

Underlying many of the songs is a certain darkness,menace, ennui even; symptomatic perhaps of the tensions within the Beatles, and also of the social and political climate which was prevalent in 1968. Largely absent is the ebullience and levity of Sgt. Pepper and Magical Mystery Tour. Rarely has an album been as apposite and illustrative of its times as The White Album. Its tenor seemed to be in tune with the then nascent counter-culture.

The internal group dynamics are also worth discussing. After Paul McCartney's pre-eminence through most of the 1967 recordings, John Lennon's re-asserts himself as a songwriter on this double album, and his contributions are arguably the most substantial. The continuing emergence of George Harrison's writing and performing prowess is a also a central feature.

Whilst The Beatles is an "album" in the truest sense of the word, this does not mean that there are not highlights. "Dear Prudence", with its pastoral and joyous air, is one of the hidden gems in the Beatles' oeuvre, and features Paul McCartney on drums, after Ringo Starr temporarily left the group.

"Martha My Dear", although lyrically less than profound, is wonderfully tuneful, and appears to have influenced the Electric Light Orchestra melodically.

"While My Guitar Gently Weeps" was one of Harrison's most substantial efforts to date, although the spine-tingling acoustic "demo" version is superior.

The White Album is not as instantly likeable as the Beatles' previous releases, or even what was to follow, but it is essential to an understanding of the group's artistic progression, and the musical, social and cultural landscape of 1968.

The Year Ahead

2012-01-02T12:23:00.000Z

From a blogging point of view, the year ahead presents numerous possibilities.

For a sports afficionado like myself, there is the prospect of the London 2012 Olympics, as well as the European Football Championships, Euro 2012, in Poland and the Ukraine. I dare say that I will be posting the odd article about those two events! To be honest, I have thus far held quite a cynical and negative view of the London Olympics, but I expect that my enthusiasm will increase as the Games draw nearer.

In addition to the "marquee" events, I will continue to follow the F1 circus and domestic and European football.

I hope also to do the odd bit of travelling during 2012, both within the UK and possibly beyond, so some blog posts on these excursions can be expected....

My cultural activities, in the form of music,literature and cinema, will also provide much blogging material. I have piles of books, purchased over the past two years, gathering dust and awaiting my attention, so I will review these publications from time to time.

Any suggestions for other topics to be covered would be welcomed!

Peter Camenzind - Hermann Hesse

2012-01-01T11:28:00.000Z

No sooner had I finished the wonderful Narcissus and Goldmund than I set about tackling Peter Camenzind, one of Hesse's earlier efforts. As with the other Hesse works with which I have made acquaintance, completing it did not take long, as one is drawn inexorably into the ebb and flow of the storyline, as well as the power of the subject matter.

Peter Camenzind deals with what were to become the familiar Hesse themes and concerns such as spirituality, personal discovery and humanity, and therefore lays the groundwork for his later novels. However, this one has some distinctive characteristics of its own, and I found it more straightforward and "stripped down" than some of the others.

The plot concerns the experiences of the eponymous character, from his formative years in his home region, through his education and subsequent intellectual and artistic exploits and endeavours, and on to his return.

The young Camenzind is very much captivated by the beauty of nature, but has a curious relationship with some family members. During and after his education he finds his interactions with cultivated society largely frustrating and unfulfilling, and instead finds solace and meaning in other circles .

As the story moves forward, Camenzind comes to appreciate the "one-ness" of humanity and nature, and this appears to be achieved through a series of "re-births", during which he rediscovers the charm and honesty of the simple things in life, which often stand in stark contrast to the superficiality and insincerity which he has encountered on his various travels.

The closing chapters see Camenzind continue his voyage of discovery, and his relationship with a crippled man sees this process enter a new dimension. He then returns to his home town.

This novel also takes a frank and unusual look at the subject of death, and perhaps aims to challenge some of the established views which were prevalent around the time of its publication.

From my point of view Peter Camenzind, like other Hesse novels, looks at life as an inner struggle, but also as a series of cycles, with a periodic journey back to "mother nature" desirable for nourishment and rejuvenation. Above all, it celebrates all life for its richness, dignity and beauty.

Andy Murray and Ivan Lendl

2011-12-31T17:38:00.000Z

Well, it has been announced that Ivan Lendl will be the new full-time coach for Andy Murray.

This is intriguing news, to say the least, and the decision to work with Lendl could prove to be very shrewd. Lendl the player was always renowned and respected for his resilience, mental toughness and competitive spirit. Critics of Murray would argue that he has been found wanting in some of these areas in the past. If Lendl can instill some of his qualities in the Scotsman, he will have been a success.

There is a well-worn cliche to the effect that great players do not necessarily make great coaches, and Lendl's conventional coaching experience is hardly extensive. However, in many of the areas where Murray arguably needs to reduce the gap to Federer, Nadal and Djokovic, Lendl's input could prove invaluable.

The new Murray-Lendl partnership will be fascinating to behold.

Sebastian Vettel and Ferrari

2011-12-31T11:00:00.000Z

Following some recent comments by the Ferrari president Luca Di Montezemolo, the prospect of the Italian team seeking to recruit Sebastian Vettel has resurfaced. The inference from the recent stories is that any such move would be made for the 2014 season. The reports, and the timescales cited, raise several questions and issues.

First and foremost, would Vettel necessarily want to leave Red Bull at all? He is very much the "blue eyed boy" in that team, given the best of everything, an integral part of a well-oiled machine. That set-up is second to none in current F1, with strong and clear technical and strategic leadership. The German was "brought up", in F1 terms, within the Red Bull framework.

On the other hand, in two years' time, will Vettel be ready for a change, and a new challenge? By then, he may have one or two additional world titles under his belt, and there are no guarantees in modern F1 that a team will retain its supremacy for long, and this will be accentuated by the upcoming changes to the engine regulations.

In the past, it was often assumed that the "logical" step or ambition for any driver was to join Ferrari, but I am not entirely sure whether this mode of thinking still applies. Much of the romance associated with Ferrari faded some years ago, and the drivers of today employ hard-nosed and rational criteria when laying out their career paths. Even the outwardly happy-go-lucky Vettel is unlikely to be swayed by the perceived mystique of the Ferrari team.

The other factor which needs to be taken into account here is the presence, or otherwise, of Fernando Alonso in the Ferrari driving strength. It is hard to imagine the two co-existing amicably in the same team for any length of time, even allowing for Vettel's seemingly placid and tolerant nature. Also, suggestions that the Spaniard will "mentor" Vettel before handing over the reins hardly appear credible or plausible.

If, by seeking to hire Vettel, Ferrari are hoping to replicate the glory days of Michael Schumacher, then surely part of the recipe for success, stability and harmony would entail the designation of one of the drivers as a clear number two.

From a neutral standpoint, the prospect of Alonso and Vettel in the same team is guaranteed to quicken the pulse, but I cannot see it happening. Vettel may not have any major objections to the scenario, but he may conclude that the "known quantity" of Red Bull is preferable. The financial muscle of Red Bull could also be brought to bear in precluding Vettel's departure.

It will be fascinating, during the forthcoming season, to see whether any "Vettel to Ferrari" theories acquire greater credence....

Nick Drake

2011-12-29T12:00:00.000Z

I spent some time with my older brother over Christmas, and the discussion got around to how our respective musical tastes began to diverge as our teenaged years progressed, and we drifted into adulthood. I chuckled when I reflected how I would deride my brother's preferences, but also admitted that I had eventually grown to like and respect much of the music to which he had listened, albeit over two decades later!

One of the artists falling into the above category was Nick Drake. I distinctly recall my brother coming home, clutching those vinyl albums. I did not pay any great attention to the music, and rather arrogantly dismissed it as part of an introspective phase on my brother's part, or an attempt to appear "hip" with his friends. There is a temptation at that age to question the motives of siblings, rejecting any notion that something may actually interest them for purely intrinsic or aesthetic reasons.

Well, two decades passed, and I did finally "find" Nick Drake, via a more circuitous route than my brother had taken. In my twenties and thirties I listened to lots of folk-rock and country-rock, and this led me on to singer-songwriters (Jackson Browne, Neil Young, Gene Clark), and then on to the British exponents of that genre, prominent among them being Drake.

On revisiting the three original studio albums, one thing which struck me is the "pastoral" feel, and also the ease with which one can be carried along by the deceptively complex melodies, and having to re-trace one's steps in order to fully take in the lyrics. The foremost emotion which came to me, though, was "why haven't I been listening to this stuff for the past twenty-odd years?"

The album which appeals to me most overall is Five Leaves Left, with its relatively sparse but subtle arrangements, and varied lyrical themes. Acoustic guitar forms the bedrock of most of the songs here, but other instrumentation is tastefully added to provide texture and depth. The nuances and charm of the songs and melodies are gradually revealed with repeated listening. There is also an almost otherworldly, ethereal feel to some of the tracks, particularly "River Man","Day Is Done" and "Thoughts of Mary Jane".

Lyrically, Five Leaves Left comes across as a mixture of the observational and the introspective, and the listener feels like he or she is being transported to a particular place and time, and also a distinct stage in the songwriter's life. While some of the compositions on this album may initially come across as quite bleak, closer scrutiny uncovers some joy, wonder, awe and optimism.

The Drake album which I suspect divides opinion most clearly, and is also the most troublesome to analyse, is 1970's Bryter Layter. More experimental and inpenetrable than the debut, with a discernible jazz-like feel in places, the songs alternate between the dreamy and the melancholy. Oddly, there are a couple of instrumental tracks. I know that the arrangements on this album can have a polarizing effect, but I find it fascinating to hear these lyrics shrouded in such an unusual, even incongruous, sonic mist.

Pink Moon, the final studio album, is possibly the least melodically diverse of the three, and features none of the augmentation by strings and woodwind instruments. This absence of such embellishments can make the album sound bleak, but also intimate. Drake's distinctive guitar work is projected more keenly, and the sense of intimacy is enhanced by the gritty sound of it, as well as the vocals. Pink Moon has a much more seamless and spontaneous vibe to it than the other material, reflecting the manner and circumstances in which it was recorded. None of the songs particularly stand out - the whole is greater than the sum of its parts.

So, there we have it, a small but impressive and varied body of work. Stylistically, Five Leaves Left stands betwixt the other two LPs, but I sense that there was no calculated career path. The individual albums simply reflect the time and place being inhabited by Nick Drake when they were written and recorded. This is often the case with "singer songwriters".

For those who admire sensitive and literate music, Nick Drake's work is a must. I just hope that other people don't, like me, take twenty years or more to fully embrace it!

Fitness

2011-12-28T18:07:00.000Z

Around the New Year period, many people embark on often short-lived fitness programmes, or long for a "detox", either as a way of ameliorating the excesses of the festive season, or in order to fulfil a New Year's resolution.

With this in mind, I just thought that I would share details of a "scheme" which I have stumbled across in the closing months of the year. I have always been a keen advocate of brisk walking as a sound foundation for fitness. Recently, I discovered that there was an ideal ten-metre "circuit" in my home, running from the front window to the hallway. Spending one hour walking briskly back and forth in that area, I can cover over three kilometres.

So, rather than venturing out in inclement weather to get some exercise, we can utilise our humble abodes, and exercise in a comfortable and controlled environment.

Allied to the exercise detailed above, I have cut out unhealthy snacks from my diet, and starting having smaller portions at meal-times. The results have been very encouraging. I have lost a stone in weight in the past few months, and because of the walking, my body is much more toned and honed than before.

I appreciate that these methods may not work for everyone, but it may be worth a try!

New Year, New Hopes, New Plans?

2011-12-28T11:00:00.000Z

Well, 2012 is rapidly approaching.

I imagine that most people will offer the time-honoured platitude "where has this year gone?" when looking back on the twelve months just gone. By contrast, rather than flying by, for me this year has appeared strangely elongated and stretched. Recently I was perusing my 2011 diary, looking back on events, and was astonished to discover that some things had in actuality occurred only four or five months ago, when in my mind's eye they belonged almost to another age. Is it realistic to interpret this perception of time dragging as symptomatic of a fuller, richer and more fulfilling life?

In some cultures it is customary at this juncture for people to make New Year's resolutions. This time around my stated intention for the year ahead is to show more "resolution". It is not really a case of starting anew with a blank sheet of paper. The paper is replete with assorted and random jottings, and the task is to rearrange these into a coherent whole.

Aside from all of our grandiose plans, schemes and pipe-dreams, there are some things which we can all aspire to in the year to come. We can try to be true to ourselves, and think, behave and act with compassion, moderation and humility....

Here's hoping and wishing that everyone has a peaceful, happy and fulfilling 2012.

Bruno Senna to Williams?

2011-12-27T10:55:00.000Z

One snippet of Formula 1 gossip which escaped my attention in the pre-Christmas frenzy was the report that Bruno Senna visited the Williams team's factory at Grove, with a view to discussing possibilities for the 2012 season.

It had been generally assumed in F1 circles that Adrian Sutil was the firm favourite for the second seat in Sir Frank's team, having been linked with the drive towards the end of the 2011 season. However, the situation now seems a good deal more fluid, with Senna's overtures, and renewed efforts by Rubens Barrichello to maintain his presence in Grand Prix racing.

Looking at all this from a purely driving perspective, the range of options would appear, from the Williams perspective, to be quite enviable, but in reality they are less than inspiring.

Senna has relative youth and enthusiasm, and did show flashes of promise in his 2011 outings, but lacks experience. Barrichello represents continuity, unparalleled experience and a proven track record. There have been doubts about his motivation, but maybe the widespread presumption that his F1 days are over has stung him into renewed vigour? Sutil would, on the surface, seem to combine some of the elements presented by both of the the other two candidates. Solid experience, unrealised and untapped potential, and something still to prove.

Not to be forgotten in all of this is the presence of Pastor Maldonado in the team. Maldonado's performances have not been totally convincing, and part of Willliams' thinking on the second driver must surely reflect this. This would presumably count against Senna.

Of course, all this analysis has so far disregarded the issue of sponsorship. Reports suggest that the three candidates all have access to funds of some description. The ultimate choice of driver may tell us much about the state of the Williams team's finances, and whether their "racers" ethos still remains intact....

Boxing Day Football

2011-12-26T17:52:00.000Z

For a Leeds United fan, the outcome of today's fixtures has scarcely been enjoyable to behold. Not only did Leeds slump to defeat at Derby, but most of the Premier League results went in favour of a certain outfit which bases itself at Old Trafford.

If I am being honest, I did not expect Leeds to pull up any trees at Pride Park, but the general trend of results, belief and morale appears to be emphatically in the wrong direction as we approach the turn of the year. We are now hearing the first genuinely widespread murmurings of discontent with Simon Grayson himself. It goes without saying that the matches against Barnsley and Burnley, before the FA Cup hiatus, could be crucial on several levels.

By all accounts this was a lacklustre display from Leeds, and it is open to question whether some reshuffling of playing personnel during January will have any discernible impact in reversing the position. Although the Championship table indicates that the team is still within striking distance of the play-offs, we are moving in the wrong direction, when we should be building a base-camp for an attempt on the summit!

As if the woes of Leeds were not enough, it seems that the clubs in the Premier League top echelon are determined to ensure that Manchester United have the psychological advantage of leading the pack as we enter 2012. Chelsea's stuttering form persists, and Liverpool and Newcastle have lost touch. Manchester City had the kind of result at West Brom which could prove to be very costly come May.

The state of play looks favourable for Tottenham, from a purely arithmetical point of view, but do they, or their supporters, truly believe? Games in hand are all very well, and nice to have, but they also create a new, different type of pressure.

I hope that my pessimism about the position in the top two divisions proves to be misplaced!

Narcissus and Goldmund - Hermann Hesse

2011-12-24T17:30:00.000Z

My journey through the works of Hermann Hesse continues apace, and next on the list was Narcissus and Goldmund, which in many ways has been the most affecting and thought-provoking for me.

The work tells the story of two young males who attended a monastery. Narcissus quickly rises to become a quasi-tutor, and the young Goldmund becomes, in effect, a protege of his. Once Goldmund experiences the pleasures of the flesh, he doubts whether it his vocation to be a monk, and the astute and perceptive Narcissus helps his younger friend to achieve an awakening. Goldmund consequently takes his leave of the monastery.

The novel, as with other Hesse books, explores the Dionysian/Apollonian dynamic of "the thinker versus the artist" or "intellect against nature", but here ample attention is also paid to the idea of travelling "back to mother", of rediscovering the innocent and dreamlike path first embarked on during childhood. Goldmund, with the assistance of Narcissus, comes to recognise his mother's qualities and influence, and that these had been distorted and misrepresented by his father, hence the steering of the youthful Goldmund in a monastic direction.

After his awakening, and his departure from the monastery, Goldmund sets out on a journey through the countryside, relishing the favours of women and savouring and feasting on other things to which the senses respond. As this stage of the story unfolds, we are made aware that the "maternal" dimension of existence, although more varied, colourful, vibrant and intense, is also less secure, certain, logical and predictable.

Much of the imagery employed to convey this idea of the "mother" ideal, and also of Goldmund's delving into the torment of "the artist" is projected through the females who he encounters on his travels. Female wiles, and in one sequence the act of childbirth, are used to illustrate the extremes of pleasure and anguish which, it seems, are revealed by similar physical manifestations.

As Goldmund moves from place to place, he finds that people are not exclusively welcoming to his wayward and itinerant lifestyle, as they are attached to a sense of roots and attachments. This makes him aware of the transient nature of things, and partly explains his urge to apply his artistic urges to create works of art which will be other than ephemeral. Brushes with death, and witnessing the ravages of the plague, intensified these thoughts.

I interpreted this part of the tale, rightly or wrongly, as another "awakening" on Goldmund's part. He sought more of a goal, and sense of purpose, a focus for his endeavours. The subjects of his artistic efforts also yield much symbolism, with a compulsion to create figures depicting the Madonna and Narcissus. This may have indicated a growing realisation that he was beginning to combine the sensual and the practical.

Goldmund is eventually reunited with Narcissus, and both before and after this event further insight dawns on him. My take on this was that he began to appreciate that life is a constant cycle of suffering and pain, alleviated by pleasure. This pleasure or joy soon ebbs, and the agony returns. The cycle can be transcended by tangible realization of thoughts, images and dreams, combining elements of the "artist" and the "thinker". Narcissus opines that in reaching this state, Goldmund has truly found himself.

After returning to the monastery with Narcissus to partake in further artistic work. Goldmund becomes restless again, after the completion of a project diminishes his sense of purpose. There follows a potent conclusion to the story. Goldmund seeks again to satiate his wanderlust, but finds that his charms are no longer as seductive, and his senses not as aroused. Stricken by illness, and bereft of the drive to apply his thoughts and dreams artistically, Goldmund lacks the will to survive and exist which previously drove him on. The conflict is at an end. He is ready to return to Mother....

During the final chapter, we discover that the outcome of Goldmund's meandering journey has prompted Narcissus to question his own approach to life.

Narcissus and Goldmund I found quite inspiring. Another message which I took from it was that all our lives are a constant battle for peace and contentment, but factors, often stemming from childhood, cause us to approach this struggle in different ways. However, we all constantly require re-balancing, re-nourishment and replenishment. Being true to ourselves at the outset of the journey may be the most natural, honest and effective way to find some meaning....

The Allman Brothers Band

2011-12-22T18:00:00.000Z

For the past fifteen years or so, I have been much taken by North American music of a more rootsy nature, the musical sub-genre which appeared in the late 60s, and continued to flourish for part of the following decade. Into this category I placed the late-period Byrds, The Band, Little Feat, Creedence Clearwater Revival and others.

One outfit which had escaped my closer attention was The Allman Brothers Band. Because they were habitually categorized as "Southern Rock", I lazily assumed that they were of the same ilk as Lynyrd Skynyrd and its imitators. Only much later was I resoundingly disabused of this notion...

When I refer to "The Allman Brothers Band" here I am speaking specifically about the period in which Duane Allman was part of the group, prior to his tragic death in 1971. To all intents and purposes, this encompasses the first three studio albums, plus the masterly Live At Fillmore East.

In the early 1970s, there was a surfeit of groups offering a "stew" of various forms of American roots music (Little Feat, Stephen Stills' Manassas to name but two), but the Allman Brothers Band were ahead of the game in several departments. By employing two drummers, they instilled a funkiness and rhythmic depth to their sound, which set them apart from their contemporaries for a while.

The sheer breadth and scope of their influences is also sometimes overlooked. Although the blues and country appeared to predominate, especially on the first two studio albums, if one listens closely it is easy to detect traces of jazz, Latin and even gospel. Sometimes one or more style was superimposed on top of others within the same song, to startling effect. "Whipping Post" is arguably a case in point.

Another strength of the Allman Brothers Band was the tendency for lengthy and outlandish jams to co-exist happily with more accessible and catchy material. There were perhaps signs on the studio cuts on Eat A Peach of a shift towards more concise musical statements, but many of the trademarks remained, notably the contrasting guitar sounds of Duane Allman and Dickey Betts. This, along with the keyboards of Gregg Allman, gave the group's music a texture lacking in that of most of their peers.

Although the original "classic" line-up was in place for a comparatively brief period, its legacy remains formidable. The track "Stand Back", from Eat A Peach, encapsulates in three-and-a-quarter minutes all that was instantly infectious and compelling about the band, while the various live renditions of "Whipping Post" showcase their penchant for improvisation and extemporisation.

In their sphere, the Allman Brothers Band were unusual in offering a heady brew of gritty immediacy, technical virtuosity and often ethereal soundscapes. They are an essential reference point for anyone tracing the development of rock music in the early Seventies.

Classical Music

2011-12-19T21:00:00.000Z

It is often a matter of regret to us that we dismiss, and even ridicule, early in our lives some things which, in retrospect, could have been of value and benefit to our lives. Such an approach is sometimes based on ignorance, and at other times born of peer pressure or plain cowardice or lack of backbone.

In my teens, I had a music teacher at school who always strove to enthuse his pupils with his own love for classical music. His tutelage had some effect on me, and the music began to enter my consciousness, in particular the work of Zoltan Kodaly and Jean Sibelius.

In any sane world, classical music would from then on have become part and parcel of my leisure time, enriching my life. But, of course, in adolescence we are subject to forces which often preclude such cultural departures, including the fear of mockery and the clamour to conform and belong. So, classical music was shoved into the background of my life, as I ran with the crowd.

It was only around two years ago that I truly rediscovered classical music, and then almost by accident. A thread on an internet forum prompted me to revisit some of the music from those school music classes. This renewed curiosity opened up a whole new vista of entertainment, cultural stimuli and spirituality. The music "spoke" to me to such an extent that I felt a genuine tinge of disappointment that my quality of life could have benefited had I not so summarily banished it all those years previously.

The particular sub-types of classical music which I have been drawn to are those which have a real emotional pull and resonance, and which have the capacity to stir the soul. So Gustav Mahler, Richard Wagner, Franz Liszt and my old friend Sibelius tend to be favoured, and even the operas of Puccini are also beginning to make their presence felt.

With my "re-conversion" to the glories of classical music, I could perhaps have been forgiven for seeing some rock and pop music in a different light, belittling it as somehow hollow or superficial. However, my regard for my favourite rock artists has barely altered. After all has been said and done, music is music, and much of it has the power to delight and stimulate, no matter when it was written or originally performed. I have simply become conscious once more of the ability of some classical music to accomplish this role.

Oddly enough, as my tastes in classical have tilted towards Romantic and post-Romantic composers, it is the music of the eras preceding these movements which I have had trouble getting worked up about! After listening to Mahler, Wagner et al, even some of the works of Mozart, Bach and Haydn have appeared slightly "fluffy" and lightweight to me!

Christmas

2011-12-18T10:00:00.000Z

Well, it's that time of the year again, and normally sane and rational people are running around like headless chickens, buying presents for people who they secretly (or even openly) dislike, and working themselves into a frenzy over arrangements for "the big day".

For the second Christmas running, I am able to take a more detached view of the festive season, because of my personal circumstances. It is often asserted that Christmas is "for the children", and it is true that the older I get, and having little in the way of paternal instinct, the less sense the Yuletide period makes. It is not the commercialisation which makes me recoil, but the looming realisation that it may be one mass exercise in masochism.

As a friend of mine recently observed, much of the jollity is forced and insincere. People indulge in excess because they are told that this is expected, as if some "invisible hand" is directing events. We are all swept along by peer pressure and social pressure, and few individuals have the nerve or the courage to "opt out".

We are told that Christmas is a time for family and friends to get together and enjoy themselves. My response would be that we can arrange that in the middle of June if we wish, minus the aggravation and stress. Increasingly, Christmas Day is just like any other day for me, except that everything is closed!

So, the festive period brings out the worst in many people, causes incalculable stress and misery, and also distorts our economic and social activity. Apart from all that, it is wonderful....

Roll on 2 January 2012......

Formula 1 News Round-Up

2011-12-16T16:19:00.000Z

So, as we approach the end of 2011, F1 news is coming thick and fast, as the driver line-ups for next season firm up and some teams reorganise themselves.

We have learned that Daniel Ricciardo and Jean-Eric Vergne will make up the Toro Rosso driving strength for 2012. At first glance, this might appear harsh on the previous incumbents, Buemi and Alguersuari, but we need to remind ourselves that STR exists to a large extent as a "feeder" team to the main Red Bull outfit. If drivers are unable to demonstrate that they are potentially the new Sebastian Vettel, then they are unlikely to keep their rides for long. Whatever the rights and wrongs of this particular case, it is still good to see young talent being given a chance. KRV5NNY3UDU3

Also recently confirmed was the appointment of Luis Perez-Sala as team principal at HRT. I always liked Perez-Sala during his F1 driving days, but he will have his work cut out to move HRT forward, and the record of former drivers as team bosses has not always been a happy one. Good luck to him, anyway.

The latest announcement on driver line-ups has emanated from Force India, and their confirmation of Paul di Resta and Nico Hulkenberg for their race seats. Di Resta certainly deserves more opportunities, and Hulkenberg is also a worthy choice. All of this presumably makes it even more likely that Adrian Sutil will make his way to Williams.

The Ant and The Grasshopper

2011-12-15T11:00:00.000Z

Among my favourite sitcom episodes is one from Whatever Happened to the Likely Lads, entitled The Ant and The Grasshopper. This portrays, in some comedic style, the contrasting lifestyles of Bob Ferris and Terry Collier; the career-minded and industrious approach of the former, and the life of leisure and relative indolence pursued by the latter.

The title of the episode is taken from one of Aesop's better know fables, which looks at similar, if not identical, themes.

In a more modern social context, the dichotomy is often expressed as that between rigid careerism and downshifting, and also as the desire for a greater work-life balance.

As somebody who has experienced both sides of this particular coin, I often feel that it is seen in simplistic,black-and-white terms, when in reality there are a million shades of grey in between. Generalisations and idealistic views abound, and most of these are often swiftly dispelled not long after people imagine that they have "crossed the line".

Downshifting, and its variants, are not necessarily the idyllic and carefree existence which those still embedded in the rat race think them to be. A salaried or 9 to 5 job has in-built motivatory factors, imbuing one with a sense of purpose, targets to aim for, and some semblance of structure and continuity. Those who embark on alternative courses may come to yearn for some of these things.

It is oft remarked that one of the drawbacks of living a regimented life is the tendency to experience "ruts", brought on by drab and repititive routines. However, downshifters can also fall prey to such difficulties, as a life without a sense of purpose and direction can become soulless, notwithstanding its apparent flexibility and other benefits.

So what is the answer? Well, one thing to bear in mind is that the grass is not always greener on the other side. Pursuing both paths to extremes can represent a fool's paradise, and it is easy to be seduced by the platitudes of others. Self-awareness, being alive to warning signals, and a readiness to embrace changes, are all of benefit, but of course are not possessed by everyone.

It is tempting to reach the conclusion that each philosophy can learn from the other, in the search for a more balanced and fulfilling life. Combining the practicalities of "the treadmill" with room for hopes and dreams, or marrying a sense of excitement to some roots and foundations would perhaps be a more realistic scenario. The very lucky amongst us achieve at some point a feeling of equilibrium, where the ideal becomes reality in one organic whole. The rest of us have to be content with reining in fanciful ambitions or notions, and coming to terms with the necessity for pragmatism and compromise.

If I have learned anything from my own experiences on both sides of "the fence", it is that mental complacency is the main enemy, and that this can lead to stagnation and disillusionment. It sounds trite, I know, but variety is the spice of life, and this applies particularly to interaction with other human beings. We just keep on learning, often from our mistakes and traumas, and try to train our minds to recognise when the rot is setting in, and act accordingly.

BBC 2012 F1 coverage

2011-12-13T18:12:00.000Z

There has been much speculation about the composition of the BBC's commentary and punditry team for its F1 coverage in 2012, following the defection of several high-profile figures to Sky.

Today, however, there were media reports which should give some reassurance to real F1 enthusiasts. It seems that Ben Edwards is being lined up to be the main commentator alongside David Coulthard for next season.

My main memory of Ben is of his partnership with John Watson on Eurosport's commentary team in the mid-1990s, and I gained a favourable impression. As a racing driver himself, he knew what he was talking about, but also had the ability to communicate his knowledge in a friendly, natural style. It remains to be seen, of course, whether he can establish the same chemistry with DC as he had with Wattie.

Although the loss of Martin Brundle and Ted Kravitz is a blow, it is encouraging that Jake Humphrey will stay as main presenter. I must admit that I was sceptical when Jake was first appointed, but I have been forced to eat humble pie and admit that he has done a first-rate job. From a purely personal point of view I hope also that the delightful Lee McKenzie plays an enhanced role in the coverage!

I am often critical of some aspects of the BBC, and in particular the licence fee system, but I wish them well in their efforts to maintain the high standards of their Formula 1 coverage. The portents thus far are good.

Overlord - Max Hastings

2011-12-12T19:30:00.000Z

This book had been quietly gathering dust on my shelf since I purchased it some months ago, but feeling that I had neglected military history in my recent reading activities, decided to give it my undivided attention. Essentially, this is an account of the D-Day landings in June 1944, and the subsequent campaign in North West France.

Hastings adopts a clever and novel approach, in combining straight historical chronicling with some poignant and insightful quotes and recollections from the men who were on the ground, placing their experiences in the context of the overall operation.

Some of the most hard-hitting content concerns not the invasion itself and its aftermath, but rather the build-up and preparations for Overlord. The author details the disagreements about overall strategy between the Allies, and also within the services themselves. The passages addressing the reluctance of the British and US air forces to embrace Overlord, and to switch their resources accordingly, are particularly startling. I had been aware previously that the RAF took some persuading to transfer the emphasis of strategic bombing, but Overlord offers new analysis.

Reading this book, it is sobering to reflect on how many of the disputes were not resolved until shortly before the landings, and also how much of the acrimony lingered afterwards. Belying the displays of unity offered up for public (and enemy) consumption, it appears that there was plenty of discord and rancour behind the scenes!

I was also greatly moved and impressed by the chapters which covered the actual landings, and the hardships and travails endured by the troops. I almost felt like I had been transported to the Normandy beaches of June 1944, and was observing events as a spectator. When an author can elicit this kind of feeling in the reader, he or she must be doing a good job...

The book goes on to dissect some of the deficiencies of both armies, in terms of men and material. Where possible, Hastings moves beyond patrotic and ideological considerations to offer an objective and candid assessment of fighting vigour and technology. Some attention is also given to the conduct of the various commanders, and how their relations with their peers and subordinates were affected by the vicissitudes of the campaign.

It was refreshing to find a commentator from either Britain or the United States who is willing to discuss so openly and frankly some of the failings of the Allied operations, and to acknowledge that the main reasons for their ultimate victory in Normandy were their superiority in overall firepower and the scale of their material resources.

There may be more detailed or technically comprehensive accounts of this particular stage of World War 2 out there, but as a one-stop, accessible and well written example, Overlord will be difficult to surpass.

Dreamboat Annie - Heart

2011-12-08T22:00:00.000Z

For most people the mention of the North American rock group Heart conjures up images of 80s big hair, slickly produced power-ballads, and extravagant promotional videos.

Indeed, until a couple of years ago that was also my conception of Heart. I was aware of their previous "incarnation" in the 1970s, but had not taken the trouble to explore that period of their career in any major depth.

When I heard Dreamboat Annie, their 1976 debut album, I was completely taken aback by its level of quality and invention. At the time, Ann and Nancy Wilson were hailed as the "female Led Zeppelin", but there is much more to them than that.

Dreamboat Annie could be justly described as a concept album of sorts, with common threads being provided by the vibe and mood (and delicate instrumentation) of the acoustic numbers and the three versions of the title track which span the song list.

The overall feel is one of "light and shade", with the subtler and quieter acoustic moments interspersed with rockier, grittier sections. That said, my abiding feeling about the album is that it is a series of "mood pieces" rather than a straight-ahead rock album.

In terms of influences, yes there are echoes of Zeppelin in there, but also nods to Californian rock, particularly Neil Young, and even psychedelic bands such as Jefferson Airplane.

The album opens with "Magic Man", which would be categorised as mainstream rock, but is tuneful and immaculately crafted, in keeping with the rest of Dreamboat Annie. Indeed, it is the imaginative arrangements and production which make this such an unusual album.

Next, we are treated to a first taste of the title track, and perhaps the first indication of the purity of Ann Wilson's voice, which is a hallmark throughout.

"Crazy On You" is one of the standout tracks, with its distinctive acoustic guitar introduction, and its deceptively complex tune. The song is also a showcase for Ann Wilson's vocal versatility and range, as she alternates between delicacy in the verses and more power in the choruses. There is also pleasing interplay between acoustic and electric guitars, another feature of this whole LP.

The fourth track, "Soul Of The Sea", is perhaps the most affecting of the mood-pieces. Nautical references and atmospheres are another thread in some of the songs. The middle-section contains the most overtly Led Zeppelin-esque sequence on the entire album, reminiscent of the folky songs on Zep's third and fourth albums. Ann's vocal phrasing is also strikingly similar to that of Robert Plant, but this is not necessarily a criticism! The carefully layered backing tracks on this song are beautifully done, and never cloy.

On we move to "Dreamboat Annie" itself. The group employs some unusual (for rock music) instruments on this cut, including banjo, and what sounds to me like a glockenspiel. Just another instance of a diverse palette being used to enrich the sonic landscape, and one of the virtues of this album as a whole.

"White Lightning and Wine" is another of the heavier items on Dreamboat Annie, although it has a more rootsy guitar sound than the others. In different circumstances this could have been a "meat and potatoes" track, but the talent and personality of Ann Wilson elevate it above the merely ordinary.

Perhaps the prettiest of all the tracks is "(Love Me Like Music) I'll Be Your Song", which has a lovely tune, and beautifully soothing vocals and harmonies. Once again, the finesse of the backing track, and the understated production, work superbly.

By contrast, "Sing Child" possesses the most outlandish guitar effects on the album, and a strikingly effective flute part. Of all the songs, this contains the most deviations and stylistic shifts, and is a good counterpoint to the many gentler moments. Yet another indication of the care lavished on the production.

"How Deep It Goes" features more intricate acoustic picking, and crystalline vocals. This is a song which exemplifies the vaguely ethereal and dreamy ambience of the whole album, with some unexpected melodic turns, and hooks.

And so we finish with the Reprise of "Dreamboat Annie". Again, a variation from the other two versions, with a slightly different tempo, and more piano-intensive. The classically tinged parts are almost baroque in flavour.

There we have it, then, for my money one of the most under-rated albums of its era. Even more impressive when one realises that it was their debut effort. I would recommend it to pop/rock music-lovers across the board. It is one of those records which, once listened to properly, commands instant admiration and respect.

Peter Gethin

2011-12-06T23:22:00.001Z

The sad news was announced today of the death of Peter Gethin, Formula 1 driver of the early 1970s, at the age of 71.

Peter was of course best known for his victory in the extraordinary 1971 Italian Grand Prix at Monza, possibly the most exhilarating race in F1 history. He led home a howling pack of cars driven by Ronnie Peterson and Francois Cevert, amongst others, in what was for many years thereafter the fastest race in the history of the World Championship.

As he crossed the finishing line that day at Monza, mere feet ahead of the pack, Peter had the presence of mind to raise his arm in triumph, just in case there was any doubt about the result in those days prior to the advent of full electronic timing!

The rest of his F1 career could not hope to match the giddy heights of Monza, but he did win a couple of non-championship events, including memorably beating the F1 stars in his F5000 Chevron in the 1973 Race of Champions.

In addition to his F1 exploits, Peter had success in F5000 in both Europe and the Antipodes, as well as in Can-Am racing.

Following his retirement from driving, he remained involved in the sport, becoming involved in team management, including with the Toleman Formula 1 team in 1984. This meant that he had to deal with a certain Ayrton Senna da Silva. A contractual dispute meant that the Brazilian was prevented from competing at Monza that year, and there is some famous footage of Peter and Ayrton debating matters in the paddock.

Condolences go to Peter's family and friends.

Steppenwolf - Hermann Hesse

2011-12-06T20:00:00.000Z

I am gradually working my way through some of Hermann Hesse's most celebrated works. Having been inspired by Siddhartha, and immersed in The Glass Bead Game, I next turned my attention to Steppenwolf:

In fairness, Steppenwolf seems to have been subject to a myriad of interpretations down the years, and Hesse himself commented that the book had been very much misunderstood by many people. At the risk of being accused of misunderstanding the many messages myself, I have attempted to dissect some of the themes which are touched on or probed.

Through the main character, Harry Haller, the novel takes a look at to what degree some people have split personalities (in Haller's case between "man" and "wolf"), but also the notion that we have multi-layered personalities.

Within the context of all this, we also delve into the conflicts and tensions between individualism and bourgeois existence, and see how a solitary and single-minded approach to life and culture can often become a blind alley, where resentment and bitterness might fester and thrive.

As Haller continues on his journey, he meets people who introduce him to frivolity and decadence. Touching on the issue of multi-layered personalities once more, it is hinted that we should value some levity as an emollient. Alien worlds are much more welcoming and accommodating than we might have imagined. Other people are fascinated by the strengths of the loner or the thinker, and they themselves may yearn to fill in some of the gaps in their own development. There is no shame in these "compromises", as greater rewards may lie ahead...

One strand which I picked up, rightly or wrongly, during the period when Haller links up with Hermine and the saxophonist Pablo, is an assertion that the sensual, and the pleasures of the flesh, are just as worthy and valid as the intellectual. Sensuality is a form of an expression, and a mode of living, just as "conventional" culture is.

This part of the novel was the most fascinating for me, as it began to steer the story discernibly in the direction of transcendence, a much favoured subject of Hesse. The question began to form in my mind - "well, we've learned to welcome more joviality and hedonism into our lives, but where does this take us?". There is a recognition that even those individuals who cultivate advanced tastes for both the individual and the sensual will be little appreciated, and that shallowness and mediocrity will still hold sway. But will there still be some form of escape, or release, for the inquisitive and the curious?

Grandiose though the ending of Steppenwolf is, many matters are left wholly or partly unresolved for me. There are references to immortality and eternity, and the almost obligatory allusion to a return to a child-like state, which is presumably in part what endeared this work to the post World War 2 "counterculture".

During the Masked Ball scene, intoxication appears to be put forward as a kind of release from the constant striving, suffering, indiscretions and effort of life, but even this is not sufficient for Harry Haller.

The subsequent hallucinatory scenes offer additional clues, and build on the premise of a multi-layered human being. The killing of Hermine by Haller (the Steppenwolf) provides persuasive hints that the animalistic side of him was still lurking, the irony being that she prevailed upon him to end her life in exchange for tutoring him in the ways of her social milieu.

So is life for most of us a never-ending struggle, characterised by our constant shuffling of the various pieces of our multi-faceted personality, and not finalised by even death itself?

Another thought which increasingly weighed on my mind as I progressed through Steppenwolf was that rather than simply taking life too seriously, some of us fail to take some aspects of life, and our "souls", seriously enough. A balancing is desirable.

Even allowing for the outwardly downbeat ending, some optimistic notes are still struck towards the end of the story. We all have it within our power to change, but our "souls" need to be unlocked, and this may entail the assistance of others.

Not as linear as Siddhartha, or as enriching as The Glass Bead Game, Steppenwolf is nevertheless a work which will continue to provoke much thought and reflection among many people.

The Martian Chronicles - Ray Bradbury

2011-12-01T21:00:00.000Z

Not so long ago I completed reading Fahrenheit 451, by Ray Bradbury, and posted my thoughts on this blog:

Fahrenheit 451 - Ray Bradbury

Suitably enthused, I then moved on to another of Bradbury's most noteworthy works, The Martian Chronicles:

The Martian Chronicles is a fictional account of Earth's repeated attempts to colonize Mars, presented as a series of short strories, and examines the effects and ramifications of these events over a number of years.

Many themes are explored throughout this book, often pertaining to the dichotomy between Man's idealism surrounding his journey to Mars, and the intolerance, corruption and arrogance which he also brings with him.

Another message which comes through is that the inhabitants of Earth could learn from the civilizations on other planets, and that they ignore such lessons at their peril. Some human weaknesses could be our downfall in exploring space, including greed, sentimentality and hubris.

In The Martian Chronicles, people have widely differing agendas when approaching colonization of Mars. Some see Mars as a potential refuge for lovers of liberty, tolerance and peace, while others wish to fashion the Red Planet for their own less benign and selfless motives.

The work looks at the methods employed by the Martians to address the influx of Earth men, from the subtleties of "telepathy" to less benevolent measures as the depredations intensify. Some uncomfortable and probing questions are posed about what lengths a people should go to in defending their own "territory" and habitat.

Some of the philosophical strands in this book really resonated with me, particularly the desire of some of the Mars colonists to live a simple existence, for its own sake, and not to be in hock to some "end" or spurious "common good". But at the same time, the question lingers, how far should we be permitted to go in order to secure and preserve our own liberty and richness of life?

Possibly the most fascinating chapters of The Martian Chronicles appear towards its conclusion, when issues of racial persecution, war and human relationships are very prominent. Those who suffer racial discrimination on Earth travel to Mars with hope, but may end up facing the same types of oppressors on their new home.

Many of those who boarded the rockets espoused some ideals about freedom, but acted just as unethically and immorally, and with as much avarice, on Mars as they had done on Earth. There is an attendant danger that the colonized area becomes as authoritarian and over-regulated as the mother planet. Peaceful co-existence was desired, but on terms set by the former Earth dwellers....

When a major war erupted on Earth, many of the colonists return from whence they came. For all their determination to construct a new life, the pull of historic ties, tribalism and vested interests proves stronger, and they are drawn back to support something which they profess to abhor.

After the exodus back to war-ravaged Earth, the few people left on Mars try desperately to establish contact with each other, but in this context the journey proves more seductive than the cold reality upon arrival. The craving for human interaction proves to be delusive, with the inference that we are best left to reach our own equilibrium, and form relationships "organically". This struck a chord with me, I must admit!

The final chapter is more hopeful, with a group of humans finally severing all ties with Earth, and looking towards the future.

The Martian Chronicles was at times a demanding read, as there is comparatively little in the way of exposition, and intense concentration may be needed to get the most out of it, and interpret all of the imagery. However, if one persists there is plenty at which to wonder, and with which to exercise the mind.

Kimi Raikkonen

2011-11-30T18:00:00.000Z

So, the 2007 World champion has announced that he is returning to Formula 1 competition with the Renault/Lotus team, after a two year absence from the premier class of motorsport. My first reaction was surprise that Raikkonen had only been out of F1 for two seasons. It felt like longer than that!

Whilst it is excellent news that a driver of Kimi's talent will be back on the grid, this news does throw up some interesting talking points, both about the Finn and others.

Whilst Raikkonen is making all the correct noises, about rediscovering his hunger for F1 and so on, he faces a different situation to that which existed when he embarked on his Grand Prix sabbatical. In 2009, he was still in a reasonably competitive car, and with a team with bounteous resources. That will not necessarily be the case in 2012. The record of ex World Champions returning to F1 in "middling" cars or teams is equivocal at best.

On the surface, Kimi would seem to have advantages over previous high-profile F1 returnees. Firstly, he is still remarkably young for someone who has achieved so much, and who has competed in so many Grands Prix. Theoretically, this should help him both physically and psychologically. In addition, during his two year absence from the pinnacle he has continued competing, more or less full-time in rallying, whilst also dabbling with NASCAR. His competitive juices have therefore been kept well and truly active.

Despite the plus points mentioned above, there is always the nagging fear that in today's ever-changing, intense and complex F1 environment, Kimi will fail to get up to speed. On balance, I don't expect this to happen, primarily because he is such a naturally fast driver, in the Mika Hakkinen mould, and can therefore drive around many problems.

It will be fascinating to witness to what degree the thinking on the choice of the other Lotus driver for 2012 is influenced, sub-consciously or otherwise, by the arrival of Raikkonen. Given that the choice of Kimi represents a risk, albeit a relatively small one, will there be a temptation to "play safe" in the selection of the occupant of the other seat?

For the time being anyway, let's disregard any misgivings and celebrate the return of "The Iceman", whose inclusion adds yet more spice to what promises to be an intriguing 2012 season.

The Spy Who Came In From The Cold (movie)

2011-11-29T17:30:00.000Z

Last night, I had the good fortune to watch The Spy Who Came In From The Cold, the 1965 film adaptation of John le Carre's novel, starring Richard Burton and Claire Bloom.

The opening sequences of the movie accurately set the scene. Bleak, gloomy and austere, capturing the atmosphere surrounding the seedy world of espionage. It was a masterstroke to make this film in black and white. Monochrome is invariably more evocative than colour.

The plot of The Spy Who Came In From The Cold is quite elaborate, and the movie does a fine job of striking a balance between overt explication and leaving some aspects to be worked out by the viewer.

Richard Burton delivers a fine performance as the brooding, careworn and cynical Alec Leamas. The quality of the acting throughout is quite exceptional. Particularly worthy of praise is the contribution of Oskar Werner as Fiedler.

Other films in the "spy thriller" genre may have sought to glamorise espionage, but The Spy Who Came In From The Cold is quite unflinching in its depiction as a sleazy, ruthless and unforgiving world. The court room scene towards the scene is particularly stark and compelling.

Overall, this is a well-constructed and riveting film, and well worth checking out. It may persuade me to devote some attention to John le Carre's novels.

Brazilian Grand Prix 2011

2011-11-28T19:00:00.000Z

So, the 2011 Formula season has reached its end. Not the most riveting race to sign off with, but there are plenty of side issues and subtexts which are worthy of discussion. In some ways, it is unfortunate that the threatened rain did not materialise in Interlagos, as this would have spiced things up slightly!

Whether Mark Webber could have won if Sebastian Vettel's gearbox maladies had not intervened is a matter of conjecture, but the form from practice and the early laps of the race itself would seem to indicate that the German would have notched up another victory. The nature of the Interlagos circuit worked in his favour, making the problems manageable.

Even though the win in Brazil was fortunate, it was some compensation for the frustrations and setbacks endured by Webber throughout 2011. It still seems mildly extraordinary that he won only the single race in the whole season.

The race ended up being a bit anti-climactic for McLaren, not quite living up to the pre-race hopes and expectations. Jenson Button's late surge on to the podium appeared to vindicate his strategy, but only belatedly. Second place in the championship was reward for Button's consistency and intelligent driving during the season.

Lewis Hamilton's gearbox failure, coming after the euphoria of Abu Dhabi, was symptomatic of his roller-coaster year. Hamilton was in quite philosophical mood after the race, the inference being that he will put 2011 down to "experience" and do his best to come back stronger (and luckier) next year.

One of the major talking points of the race was the coming-together between Michael Schumacher and Bruno Senna. It did seem that Senna moved over slightly , but by the same token it was an optimistic, and far from straightforward, move by the seven-times champion. I am no expert, but I think that allowances have to be made for the nature of the track layout at that point, which may have contributed to the Renault driver's line. It seems that I was not alone in considering the penalty imposed on Senna quite harsh...

In what may turn out to be his F1 swansong, Rubens Barrichello did not quite have the race that he was looking for on his home turf. However, he did at least exhibit some spirit after difficulties early on.

Of course, Williams are being linked with a move for Adrian Sutil, and some eyebrows may have been raised when Sutil was very impressive in Brazi, battling tenaciously and finally finishing sixth. A job application in all but name? To be fair, Force India as a team were pretty much on form all weekend. The performance cannot have done his Williams prospects any harm, at the very least.

The chances of Kimi Raikkonen joining Williams for 2012 have faded, so it is looking increasingly like it may be a Sutil/Maldonado pairing at Grove next season. Hardly inspiring you might say, and the pressure would be on Sutil to step up to the plate and genuinely begin to fulfill his undoubted potential.

On another Williams-related note, it seems that Patrick Head will be withdrawing from major involvement in the F1 project. Following the case of Ron Dennis, this is another sign of the changing of the guard in Formula 1 generally, with new faces taking over from those who have been so prominent in the past two or three decades.

Just to finish, a word about the Interlagos circuit itself. Watching the television coverage yesterday, I was reminded what a superb track it is, certainly one of the best on the calendar. It remains a breath of fresh air in this homogenized age, with its anti-clockwise direction, elevation changes and quirky mixture of corners.

So, 2011 is over. Roll on 2012!

Gary Speed

2011-11-27T20:30:00.000Z

Sunday dawned sunny but chilly and blustery. I was preparing to follow an afternoon of quality sporting action, and logged on to the BBC sport website, only to be confronted with the news of Gary Speed's death, which was then just breaking.

At first, the news was difficult to absorb, and I found it hard to believe it was actually true. But then further details began to emerge.

Gary Speed was admired and respected across the board in football, and this transcended club loyalties. He was one of those men who every coach or player would like to have in their team. For a time, he held the Premier League appearance record, and this is testimony to how he looked after himself physically, his good disciplinary record, and the fact that at his various clubs he was one of the first names on the team-sheet for every game.

He first emerged as a youngster at Leeds, coming to greater prominence during the 1992 championship-winning season, being an integral part of a famous midfield, alongside Gordon Strachan, Gary McAllister and David Batty. Gary provided that Leeds team with youthful energy, vitality and dynamism. His aerial prowess became much-feared, and his versatility was invaluable. Even as Leeds' fortunes declined in the years after 1992, Gary Speed still gave his all.

He served with distinction for his other clubs. From being the youngster at Leeds, he gradually turned into a kind of "elder statesman" figure, no doubt passing on his knowledge and experience to his younger colleagues.

Gary Speed's managerial career promised to be as successful and rewarding as his playing days, and hopes were high for his stewardship of a young and promising Welsh team. But it was not to be....

If young footballers can aspire to the professionalism, attitude and conduct epitomised by Gary Speed, then their careers will have a firm foundation.

Above all, though, our thoughts must be with Gary's family and friends at this time.

Rest In Peace, Gary.

Leeds United 1 Barnsley 2

2011-11-26T19:41:00.001Z

So once again with Leeds it is one step forward, two steps back, as Barnsley secure their first victory at Elland Road for twenty one years.

I must confess that I didn't follow this afternoon's game particularly closely, being otherwise engaged, but it seems to me that Leeds must start to improve their form at home, and achieve some semblance of consistency in front of their own supporters. It is very unlikely that they will be able to rely all season on surprise or fortuitous away results. In addition, Leeds' goal difference is markedly inferior to the teams around them.

The Championship is habitually described as "ultra-competitive", which is another way of saying that it is largely mediocre, with few teams able to put together a convincing sequence of results. One or two teams usually emerge as a cut above the rest, and Southampton and West Ham seem poised to fulfill the role this season. The rest will be fighting for the play-off positions.

Despite how inconsistent and erratic Leeds seem, they are still in the play-off spots, partially by dint of the shortcomings of their competitors. It would be churlish to criticise the team if it reaches the play-offs, but it would also be nice if they could do it purely on their own merits, and not be seen to be benefitting from others' failings.

Goodness knows what will happen at Nottingham Forest on Tuesday evening!

Old School Doctor Who

2011-11-22T18:30:00.000Z

Just recently, I was fortunate enough to watch what is I suppose regarded as one of the classic episodes of Doctor Who, namely Genesis of The Daleks, from 1975.

I must confess that Doctor Who has not really exercised my consciousness since the early 1980s, and for me, like many people of my generation, Tom Baker was the Doctor par excellence.

The storyline of Genesis of The Daleks was impressive, complex and fluctuating, and its vagaries and subtleties would probably have escaped me at the tender age I was when I first watched Doctor Who! Viewing this episode now, though, I can appreciate how well the story was constructed, with the suspense being steadily built, and occasionally decreased. The writers and producers definitely understood how to hold and maintain the attention of the viewers.

Even allowing for my generational bias, I still think that Tom Baker was a mightily impressive Doctor. As an actor, he projected some gravitas, whilst imbuing the character with a "Pied Piper" type of persona which has always been important. Again, some of these nuances were not absorbed when I was an impressionable child, and the sense of wonder over-rode most other considerations. But one of the strengths of Doctor Who in those days was that it worked on several levels, providing escapism for the young, and containing more weighty fare for the grown-ups.

Another strand which emerged during my recent viewing, but which I had not noticed much during my formative years, was the tendency for moral themes and dilemmas to be explored in the programme, usually revolving around the good/evil, or right/wrong paradigm. Whilst watching the show as a child in the Seventies, I had very little sense of being "preached" to, but admittedly would not have recognised the tell-tale signs at that age anyway. Perhaps I am too cynical and judgemental these days, detecting agendas and reading things into essentially innocent dialogue.

The settings for Genesis of The Daleks are bleak, dark, and ominous and give off a sense of foreboding. That is how I remember most of the episodes of that era. The sun rarely shone! The locations were often enclosed, claustrophobic and dimly lit. The aesthetic was less gaudy and ostentatious than the versions of Doctor Who which both preceded and followed it. Sober colours, designs and costumes were the order of the day, and that was something which appealed to me then, and still does now....

One thing which has not altered in the past three and a half decades is the capacity of Davros and the Daleks to disturb and instill fear. Indeed, they seem more chilling now because the innocence of childhood tends to mask the true gravity and meaning of some of their words and deeds.

The special effects in Doctor Who have been much mocked down the years, and Genesis of The Daleks was something of a curate's egg in this regard. The Davros creation, in terms of make-up and voice, was exceptional for its time, and was even more convincing than I had remembered it. However, I wonder whether this effort exhausted much of the budget, as the other effects were less spectacular and authentic. All part of the charm of the programme, I guess!

The fight or "struggle" scenes in Doctor Who at that time never seemed over-burdened with realism. Indeed, the exaggerated grimaces of the characters remain one of the clearest memories of my childhood...

In general, the quality of acting was of a good standard, even if the dialogue could occasionally appear stodgy, prolonged and repititive.

Doctor Who may have lacked the budget of many of its American counterpart programmes, but it had a certain power, coloured by British ingenuity and humour. The unusual, not to say unique, basic premise of the programme also helps explain its appeal.

Following this, I might even be persuaded to start watching the "modern" Doctor Who....

Burnley 1 Leeds United 2

2011-11-19T15:13:00.001Z

After watching this Npower Champonship match on television, I feel some pangs of sympathy for Burnley and their supporters.

I thought that Leeds were very ordinary for the majority of the game at Turf Moor, but admittedly took those two chances when they were presented.

My reading of it was that Leeds started quite purposefully, but soon Burnley began to look the more organised and cohesive team. Leeds kept trying, but struggled to carve out meaningful goalscoring opportunities.

One of the undoubted plusses from my point of view was the assured performance of our new goalkeeper Alex McCarthy, although I thought he might have done marginally better for the Burnley goal. A couple of his saves later proved to be absolutely crucial. Regrettably, the defence in front of him looked much less reliable and solid.

Up until Leeds' late purple patch, Burnley had probably looked more threatening, and more likely to score in the second period. What was heartening was that once Robert Snodgrass scored, Leeds kept pressing in order to capitalise.

What conclusions should we draw from this result? Well, hopefully Simon Grayson and his players will realise that they were slightly fortunate, and that they will not be able to play like this and win on a regular basis.

In a funny way, this could be a turning point, the nature of the performance and result giving a boost to morale and even confidence. Nobody should be under any illusions, however, that there is much work still to be done.

On a lighter note, I thought that when he scored his second goal, Snodgrass might have slightly mis-hit the ball. If he had made a more perfect contact, the ball might not have ended up in the net! On such fine margins are things decided....

The Great Escape

2011-11-19T11:05:00.000Z

I recently viewed The Great Escape yet again. Rather than just write a dry "review" for this blog, I decided to examine a few of the neglected aspects of the film, as well as address a few myths, and generally make a few random observations.

One of the interesting subtexts in The Great Escape is the rapport which develops between individual British and American captives, in spite of the glaring clash of cultures. The major instances of this are the tie-ups involving Hilts (Steve McQueen) and Ives, and then Hendley (James Garner) and Blythe.

The Hendley-Blythe collaboration was fascinating for several reasons. They seemed an unlikely duo, the streetwise, taciturn American and the rather eccentric Englishman, but the affection was genuine. Not really a case of opposites attracting, but more the recognition of essentially human qualities. Hendley sensed the vulnerability of Blythe, whose eyesight was deteriorating.

By agreeing to act as Blythe's escort during and after the escape, Hendley almost certainly saw his own chances of eventual freedom diminish. This brings us on to a perenially contentious subject, namely the role of the American characters in the movie. The screenwriters did push the prominence of the Americans in their adaptation of the story, but this does not tell us the whole story.

A frequent charge is that the Americans were portrayed as the most heroic and smart of the Allied POWs. There is some foundation to this, but equally I would assert that they were far from one-dimensional characters. Hendley in particular shows much compassion, humanity and shrewdness in his dealings with others. This is an interesting counterpoint to his role as "the scrounger", during which he sometimes had to resort to less wholesome methods. However, on balance we can allow that on this occasion the ends justified the means!

It is tempting to draw the conclusion that Steve McQueen was the "action hero", and that the British and Commonwealth officers were the brains of the operation. That is an over-simplification. At times he showed genuine clarity of thought, while the British appeared to become mired in detail and bureaucracy.

How do we interpret the scene during which the US officers hold a ceremony to celebrate the Fourth of July? One could choose to see it as a subtle dig at British imperialism, but I prefer to view the sequence as signifying the ability of the prisoners to acknowledge the past, but at the same time to recognise that they were now united in facing a common foe.

In assessing the contribution of the McQueen and Garner characters, it should also be recalled that the only escapees who were ultimately successful were non-American, and Hilts and Hendley, although surviving, were returned to captivity in the camp.

It is also probably true to say that the Americans expressed the most misgivings and cynicism about the whole enterprise, whereas the others appeared to be in thrall to Bartlett in particular. Towards the close of the film, the dissent in the ranks makes itself felt more, as the human cost begins to sink in, and much of the bravado and idealism dissolves.

When assessing The Great Escape, Bartlett (Big X) comes across as one of the less appealing characters, and one who I suspect divides opinion. The more I watch the film, the more I see him as vain and manipulative, even narcissistic. He was capable of persuading his men to do things which they might normally deem to be inadvisable. At the same time, I can appreciate that he was the catalyst and the motivator, and the one who made things happen.

Group Captain Ramsey (James Donald) initially sought to advise caution, and to act as a voice of reason and moderation, and to curb some of Big X's excesses. However, even his authority seemed to be over-ridden by the forceful personality of Bartlett. A more ideal formula may have been the zeal and vigour of the escape group leadership, tempered by cooler heads and the more detached approach of the likes of Ramsey.

It also seems to me that the MacDonald character (played by Gordon Jackson) is one of the weak links, although nominally seen as important. He displays sychophancy towards Bartlett at times, but Bartlett seems to have less than total confidence in him. Was excessive loyalty shown to some of the operatives, when their roles could have been more effectively performed by men from outside the "clique"?

One of the characters who shows some individuality and ploughs his own furrow is Sedgwick, the Australian. Mocked by his fellow prisoners for insisting on taking a suitcase with him on the escape, and constantly harrassed over deadlines, he displayed greater savvy and assurance than the others once it was every man for himself. As something of a loner and individualist myself, I could emphathise with Sedgwick's approach!

A part of the film which increasingly grates with me is the characterisation of the Gestapo men in the movie. They feel unduly "cartoonish", as if they were intended to be caricatures, derived straight from War Comics Central Casting. This, however, is quite a minor criticism in the overall scheme of things.

Over the years, much has been made about the supposed "rapport" between the Luftwaffe men staffing the camp and the Allied POWs. There may have been some level of understanding and common ground as "flyers", but it may have been over-emphasised. There was certainly a battle of wills, and if anything the Germans may have shown too much trust and leniency at the outset, and under-estimated the determination and resolve of the prisoners. The commandant and guards found it difficult to deal with the insubordination, defiance and sarcasm which they encountered. Ironically, in seeking to distance themselves from, and ignore the advice of, the Gestapo and the SS, the camp authorities partly contributed to their own downfall. They allowed Bartlett to integrate with the others, rather than housing him separately.

One of the strengths of The Great Escape is its depth, certainly in comparison to most other mainstream war films. No doubt before long I will be writing a follow-up to this article, with more observations!

The Band

2011-11-15T20:30:00.000Z

It is rare for a group to make definitive musical statements with its first two albums, let alone produce two works which have such a profound effect on the musical landscape. However, this was achieved by The Band, the Canadian-American combo which until then had been best known as Bob Dylan's some-time backing band.

Music From Big Pink and The Band, released in 1968 and 1969 respectively, were instrumental (if you'll pardon the pun) in rock music's shift in a more rootsy direction, and away from the extravagance of the psychedelic and heavy music which had begun to dominate. Much of the rock aristrocracy, including Eric Clapton and George Harrison, was inspired by The Band, not only because of their sound, but because of the sense of community which their music seemed to encapsulate.

I was initially resistant to The Band, probably because they were praised by rock critics whose taste and judgement I did not always trust. However, interest in other exponents of "roots" rock eventually led me to purchase those first two albums, and I became a fan for life.

One of the first things which is immediately noticeable when listening to Music from Big Pink is an exuberance and impishness, which suggests that the musicians were having great fun recording these songs!

In an era when individual virtuosity and showmanship were becoming ever more important, The Band were at pains to ensure where possible that efforts were subsumed into concise and organic song structures, while still allowing space for the individual contributions to breathe. This was possible because of the even distribution of talent within the group. The soulful vocals of Richard Manuel and Levon Helm, and the keyboard wizardry of Garth Hudson were central to the group's appeal, but were never permitted to dominate or marginalise other elements.

Another remarkable thing about The Band is how they combined and mixed various musical influences into their own unique style. Many of their songs contained elements of blues,R&B,country, and folk, but few of the tracks in their catalogue can be pigeon-holed as typifying any particular genre.

Of the two, I probably marginally prefer Music From Big Pink because of its greater spontaneity, but I know that many fans treat the two LPs as in effect one double-album. The "brown album" exudes more polish. Robbie Robertson, in particular, appears to have gone through a remarkably fertile period of songwriting productivity.

When examining two albums of such sustained and consistent quality, it is difficult, and even churlish, to pick out highlights. However, Manuel's vocal on "Tears of Rage" never fails to send a shiver down the spine, and the tuneful opening bars of "Across The Great Divide" exemplify everything that was great about The Band. The versions of the "Basement Tapes" songs on the first album are pretty much definitive.

And the lyrical content of these songs also differed from those of the majority of The Band's contemporaries, delving as they did into historical themes, and featuring some offbeat humour. It was as if they were instinctively rebelling against some of the more outlandish pretensions then prevalent on the rock scene.

The rustic and rootsy flavour of the material was also enhanced by the distinctive, and sometimes intentionally ragged, vocal interplay between Helm, Manuel and Rick Danko. When other artists were aiming for more and more pristine multi-tracked harmonies, The Band allowed the diverse talents of their singers to shine through. In addition, they were not scared of employing unusual instruments for a rock setting, and the members themselves sometimes switched between instruments. The Band were a "band" in the truest sense of the word....

Perhaps inevitably, The Band were not quite able to maintain the stunning standard of their first two albums on subsequent works. Although their craftsmanship and talent remained intact, reproducing the magic of 1968/69 proved elusive.

The Band's place in rock history was assured by their work at the close of the 1960s. This was not just because of the quality and charm of the music, but because they caused a generation of musicians to take stock, and consider whether things could be done differently.

Music From Big Pink and The Band have stood the test of time, and sound as fresh and as ebullient as they must have done over four decades ago.

Listen to the keyboard-drenched introduction to "We Can Talk", and you'll see what I mean....

Abu Dhabi Grand Prix 2011.

2011-11-13T15:36:00.001Z

A most peculiar thing happened to me today. Around mid-afternoon, I was watching TV, and a racing driver by the name of Lewis Hamilton appeared on my screen, and he was smiling, and even laughing....

It is probably too early to say definitively that the "old" Lewis is back, but his joy and relief following this victory were palpable. He didn't have to do much in the way of wheel-to-wheel racing to achieve today's win, and his cause was assisted by Sebastian Vettel's early departure, but his drive had some genuine authority about it.

Historically, McLaren always keep pushing until the very end of a Formula 1 season, regardless of whether the championship is still at stake. Hamilton and Jenson Button are reaping the dividends of this ethos. Jenson was affected by KERS maladies today, which makes his podium position all the more creditable.

For once, Red Bull seemed fallible, and in addition to Vettel's problems, Mark Webber's own car seemed slightly out of sorts, but he showed his customary tenacity to try to achieve the best possible result.

As for Ferrari, well Felipe Massa drove a solid race up until his late spin. Although this did not make much difference to the final outcome, it will hardly endear him to the team. Alonso showed real application in his valiant pursuit of Hamilton, and second place was almost certainly the best the car was capable of on the day.

One way or another, Williams had a pretty eventful race. Pastor Maldonado incurred the wrath of the stewards on a couple of occasions, and he needs to be careful that he does not acquire a reputation for being an awkward customer.

The performance, at least in the early part of the race, of Rubens Barrichello, will have raised a few eyebrows, and will no doubt prompt much debate. Granted, he was on the back row of the grid, and this indignity may have fired him up, but his drive may also be analysed in the context of recent speculation concerning the Williams team's likely 2012 line-up....

The Abu Dhabi track seems to inspire mixed reactions, but it is hard to deny that it is visually stunning, and personally I quite like its layout. It seems likely to be a fixture on the calendar, in the medium term at least.

And so on to Interlagos, for the 2011 season finale. It is fitting that the campaign ends at a traditional F1 circuit, with a great atmosphere. Will McLaren continue their late season surge? Of course, second place in the drivers' table is still very much up for grabs, so it should be a lively contest!

Steve Prefontaine

2011-11-11T22:40:00.001Z

Every so often, in every walk of life, a person comes along who stands apart from the rest, not necessarily by virtue of their ability, but because of their approach, their attitude and their affect on those around them. Such a person was Steve Prefontaine, the American distance runner of the 1970s.

When I first began following track and field closely, in the 1980s, I remember hearing the name Steve Prefontaine, and seeing him mentioned in books, but at the time did not fully grasp his importance and influence, particularly to people in the US. I was aware that he had narrowly missed out on a medal in the 1972 Olympics, but little beyond that.

My interest in Prefontaine was truly awakened a couple of years ago, when I saw the excellent movie, Without Limits, which is a biopic about the man himself. Whether the film is a fully accurate portrayal I will leave to those with more detailed knowledge to judge.

The most memorable feature of Without Limits is arguably the performance of Donald Sutherland as Bill Bowerman, Prefontaine's coach. However, aspects of the runner's personality and spirit are also examined, including how these traits impacted on others.

One of the striking things about Prefontaine seems to have been his idealism, and this was particularly evident in his front-running style. The manner of victory appeared to matter as much as victory itself, and "Pre", as he was known, may have seen running as much as an exploration of his own boundaries as a competition against other athletes.

This philosophy, and his scepticism towards authority and officialdom, are the things which fascinated me about Prefontaine. Sometimes we need to look beyond arbitrary goals, and embark on our journey of discovery, finding things out for ourselves. This often brings us into conflict with those who cling to convention. This all strikes a chord with me, following recent events in my own life.

Coaches and others may have attempted to persuade the man from Oregon to follow a more pragmatic course, but they were only partially successful. This non-comformist and rebellious streak, and his early death, appear to be the principal reasons for the Prefontaine legend.

Prefontaine's ethos was perfectly illustrated in the 1972 Olympic 5,000 metres final, when he transformed an initially pedestrian race into a no holds barred run for home, extending and testing a field of the utmost quality. Even though he lost the race, he made the race a genuine contest, and did not simply "run with the crowd".

We can only speculate on what he could have achieved in Montreal '76, had he lived. As it happens, the 5000 metres final in those Olympics was an epic affair, but we can reasonably assume that it would have been a different kind of race had the American been present.

Steve Prefontaine may not have won any Olympic medals, but what he stood for, and left behind, are arguably much more precious....

Silver Dream Racer

2011-11-10T11:28:00.001Z

Just lately my interest in motorcycle sport of all kinds has been rekindled, and in seeking out material I stumbled across Silver Dream Racer, the 1980 film starring David Essex.

The movie tells the story of an impecunious racer (Essex), who suddenly inherits a gleaming prototype bike from his late brother, and races it in the British Grand Prix.

Approaching the film with an open mind, I was not expecting a masterpiece. To be frank, it was not as interesting as I was expecting. The plot was predictable, and outlandish and over-the-top characters (including one played by Beau Bridges) could not compensate for this. In addition, the script and dialogue represented a classic case of "trying too hard".

In fairness, some of the racing sequences are reasonably convincing and authentic, with the glaring exception of the close-ups of the actors in helmets, super-imposed against a racing background. These shots looked like they could have been filmed in the 1950s...

On the plus side, the theme song is quite nice....

Le Mans 1970-79 - Quentin Spurring

2011-11-09T11:17:00.000Z

Just a note to recommend this book, which is subtitled "The Official History of the World's Greatest Motor Race". Here is a photograph of me holding my copy:

Although there is lavish photographic content, this is not just a "coffee table" work. There is admirable concentration on the technical aspects of the racing.

The 1970s are often seen as something of a "lost" decade for Le Mans, and for sportscar racing in general, coming as they did between the classic Ford-Ferrari-Porsche era and the prosperity of Group C. However, as Quentin Spurring capably documents, there was plenty to enthuse about, and some of the most tense racing in the history of the event.

Rather than simply provide a basic review of each race, the author also separately examines the fortunes of various teams and classes at each race, putting developments into their historical context. The level of detail is impressive, and will add to the knowledge of any sportscar racing fan.

As the race organisers sought to respond to global economic conditions and motorsport politics, the regulations seemed to be in a constant state of flux at this time, but this is just adds to the fascination. Even when manufacturer interest fluctuated, the race always seemed to reinvent itself.

Le Mans 1970-79 is an excellent and enlightening read....

How Much Would F1 Miss Ferrari?

2011-11-07T17:05:00.002Z

Well, it seems that the Ferrari President has made another one of his occasional pronouncements on the direction of the sport, with many interpreting his words as a threat to withdraw should changes not be made to the regulations.

Ferrari have hastily downplayed some of his remarks, but it seems sensible to assume that Luca di Montezemolo's words are another shot across the bows of the rule-makers and other stakeholders in Formula 1, seeking to nudge them further. in the direction of change.

Even if this is, as seems likely, just another bout of sabre-rattling, what would the repercussions be if Ferrari were indeed to drop out of F1 competition?

My intial interest in racing was sparked by the exploits of Gilles Villeneuve in the early 1980s, and back then Ferrari were definitely special. The history, the absence of overt sponsorship on the cars and the scarlet colour scheme all contributed to this. However, there was also a sense that they were fallible, and human, and that the team was run at least partly on emotion. This all set them apart from the very businesslike and entrepreneurial British outfits.

At some point in the 1990s, Ferrari realised that they would have to change in order to remain competitive. It was at this point that much of the mystique began to fade, ironically as they entered probably the most successful phase in their history. Many were also alienated by efforts to play on the team's importance and heritage in order to influence some events.

It would be foolish to deny that losing Ferrari would be a severe setback, but I would see such an event in somewhat different terms than if it had occurred in, say, the early 1990s. Nowadays, I would regard it as the loss of a competitive, well-funded team, albeit one with a proud tradition. The balance has shifted in the ensuing two decades.

The attitude of younger F1 enthusiasts would also be interesting to gauge. Growing up with the Schumacher era at Maranello, do they see Ferrari as quite so indispensable, in sentimental, and even, commercial, terms? Perhaps the Italian-based team mildly over-estimates its modern-day importance? The world has changed, and Ferrari with it....

Leicester City 0 Leeds United 1

2011-11-06T17:27:00.001Z

After the recent trials and tribulations, this was a very welcome result for Leeds.

By all accounts, it was a tight, hard-fought match, and it is remarkable what a psychological effect winning such a contest can sometimes have on a team. Almost as importantly, there were no goalkeeping dramas!

The Championship league table is also looking a good deal healthier from a Leeds perspective this evening. There is a renewed sense that we are looking upwards with a view to challenging the play-off places, rather than beginning to glance nervously over our shoulders.

Coming up next, Leeds have what on paper look like two less demanding fixtures, against Burnley and Barnsley, but we know from bitter experience that any hint of complacency in this division is swiftly punished. Rarely has the old adage "taking each game as it comes" seemed more appropriate.

The Third Man

2011-11-06T11:02:00.001Z

I am currently on another of my periodic campaigns to watch some of those films which, for one reason or another, have passed me by over the years. Until yesterday, one such movie was The Third Man, the 1949 Carol Reed thriller, with a screenplay by Graham Greene. I wasn't previously aware that Greene's screenplay actually preceded the publication of his novella of the same name.

The film is set in post-World War Two Vienna, and centres on a trip to the city made by an American author, Holly Martins, played by Joseph Cotten. He is seeking to renew acquaintance with his friend Harry Lime (Orson Welles). Upon arriving in Vienna, Martins is informed of Lime's death. The remainder of the story addresses Martins' inquiries, revelations concerning Lime's involvement in racketeering, and the revelation that his death had been "faked", culminating in his actual demise in the exciting final scene in Vienna's subterranean sewers.

In the early scenes of the film, much effort is made to project the atmosphere of post-war Vienna. Cosmopolitan, edgy, uncertain, oppressive. The black and white helps to project the austere, gloomy times. One has to wonder if The Third Man would have had the same power if it had been produced in later years in colour. Very few of the scenes take place in daylight, adding to the ominous and insidious feel. Excellent use is also made of the architecture and landmarks of Vienna to generate powerful imagery and metaphors.

As we meet some of the characters, there is a growing sense of a people numbed by war and its aftermath, but still coping. Mistrust and fear seem to be the dominant emotions, with people constantly unsure whether they are being manipulated or exploited. Loyalties and personal morality are tested to their limits, as everyone concentrates on survival.

Probably the most memorable scene in the film is the one where Harry Lime reappears, having previously been presumed dead. The enigmatic expression on Orson Welles' face is the thing which makes it so potent. Welles has comparatively little screen-time, but his charisma dominates the closing stages of The Third Man.

When watching the movie, I pondered whether Harry Lime was a product of the times. He was unscrupulous and cynical, but at the same time insecure. All of these qualities are on display during the iconic scene on the Ferris wheel.

Mention should also be made of the performances of Alida Valli, Trevor Howard and Bernard Lee. Valli is particularly impressive as Anna Schimdt, the subject of much agonising by both Martins and Lime.

In the final analysis, I think that as well as being a superb film noir, The Third Man is all about loyalty and morality, and the examination of these things in extreme circumstances. I am very glad that I made the effort to watch it!

Retail Therapy?

2011-11-03T20:00:00.000Z

Earlier this week I visited a large shopping centre, and although it was a far from pleasant experience in itself, it was instructive from one perspective at least.

Over the past eighteen months or so, I have become further and further removed from what is often termed "consumer culture". For possibly the first time since the process began I truly felt detached from this environment, and was able to observe it as an outsider.

As soon as I entered the shopping centre, I encountered an unfamiliar sensation, which I still find difficult to accurately put into words. It was not panic or claustrophobia, but more a feeling of "I don't belong here". Later, and after some thought, I interpreted it as a sign that I had perhaps completed a journey of sorts. This all dovetailed with an increased capacity to resist impulse purchases!

My mind has been much exercised with those forces which eat away at us, giving us the illusion of happiness and prosperity, but which have the effect of leading us further away from self-knowledge and mindfulness.

It is probably true to say that many people turn to consumerism as a means of insulating themselves from the realities of life. But does this just dodge the issue, and create a different kind of emptiness and alienation? A touch of "retail therapy" now and then is relatively harmless, but for many it almost becomes the raison de etre.

All people are unique, find themselves in different scenarios and have differing tolerances. In my case, shallow acquistiveness simply occupied time and resources which could have been better employed rediscovering the important and wholesome things in life. I was not feeling fulfilled, but simply hollow.

There is no "on-off" switch which removes us from the materialistic to the cerebral or spiritual. For many people, the changes begin via signals and warnings conveyed by the body and mind. Even then, it can take courage and soul-searching for the transformation to be meaningful and sincere.

After this week's experience, I am confident that I have made the transition....

.

Leeds United 0 Blackpool 5

2011-11-02T23:23:00.000Z

I must admit that after Leeds' recent slight wobble in League form, I was mildly apprehensive about tonight's match at Elland Road, but even I could not have envisaged how it would turn out.

Goalkeeping errors played their part, clearly, but this appears to be part of a wider crisis of confidence which is threatening to envelope the team, not too long after things seemed relatively optimistic.

Leeds now face tricky away fixtures at Leicester and Burnley in the next few weeks, and it is to be hoped that Simon Grayson is able to find a way to stop the rot before then. There is a real danger that the season could begin to stagnate for Leeds, or worse....

Queen - In Concert

2011-11-02T20:14:00.000Z

During the latter portion of their career, Queen had a reputation as being one of the most exciting and accomplished live bands around. But to what extent what this true, and how did they develop and progress during that period?

There is plenty of evidence around on which to base our judgements, in the form of concert footage and sound recordings, and recollections from those who were there in person. Some of my own opinions on this subject may not necessarily correspond with those of the majority of Queen fans!

From what I have seen, heard and read, Queen truly started to blossom as a live band around 1977. Prior to that, they appeared slightly hesitant and restrained. However, in '77 the band began to flourish, learning how to project themselves and their music, and how to develop a rapport with the audience. Anybody who has seen footage of the Earls Court concerts of this period will know what I mean. From then on, Queen seemed to possess a whole new aura of cohesion and dynamism.

This new focus and efficiency was honed in the "white heat" of the gruelling and challenging American tours of the time. As Queen's appeal broadened, they had to develop new skills in order to impress new, more discerning and demanding audiences. Much of the enhanced energy was refracted through the person of Freddie Mercury, whose powers of showmanship developed markedly around this time.

As the 1970s drew to a close, Queen continued to thrive, and it seemed like a good time to release a live album. Live Killers, recorded on the 1979 European tour and released later that year, is an adequate document, but perhaps does not fully capture the excitement of Queen's performances of that era. Whilst there are some fine moments, the intensity and quality does seem a touch uneven, possibly reflecting the stage of the tour at which the recordings were made, and the effects of an arduous schedule.

When I first heard Live Killers, I was very enthusiastic, but as the years have passed, and as more concert material from the 1977-82 period has surfaced, its lustre has diminished. The "acoustic" section of the album, and the performances of Now I'm Here and Keep Yourself Alive are superb, but in other parts the group sounds slightly listless, almost as if they were going through the motions.

My own view is that Queen peaked as a live act in 1981/82. It is true that the set list was less interesting and diverse than in previous years, but several strands came together to make the band a formidable force in the early 1980s. Freddie's voice had reached new heights of power, flexibility and versatility. Years of touring had schooled them in the art of performance and showmanship, instilling a tightness and vigour. By now they were more acutely aware of what worked, and what didn't. The diverse musical influences of the band members also added to this appealing mixture.

Fortunately, there is plenty of visual and audio evidence of just how powerful Queen were live around that time. The footage from Montreal 1981 and Milton Keynes 1982, for example. The latter especially could be shown to aspiring bands as a tutorial on how to "work a crowd". I myself was fortunate enough to witness the 1982 version of Queen, at Elland Road in Leeds. As a youngster, I was absolutely transfixed.

Is it significant that as Queen's live shows reached new heights of excellence, their albums became less ambitious, and arguably less substantial? Some of this may be coincidence, but the albums in the late 70s and early 80s had a more "stripped down" feel, and the songs being recorded were therefore easier to reproduce on stage than some of the elaborate earlier efforts. Also, the move towards a less complex sound may have enabled Queen to imbue their older songs with a new energy and immediacy in the concert setting. Another factor may have been that as Queen expended less time and emotional energy on the studio, more was left over to devote to honing their stagecraft...

Following the dizzy heights of the early 1980s, Queen's powers began to wane, the triumphant Live Aid appearance notwithstanding . Several things may have contributed to this. A fall-off in energy levels was perhaps inevitable. The band members became involved in side projects, and this may have prompted a reduction in focus. Indeed, it is known that there were major tensions within the group around 1984/85. Added to all this was a noticeable decline in Freddie's overall vocal powers on stage.

I know that many Queen fans assert that 1986 was the zenith of their touring career, but this is not something that I readily concur with. Admittedly, a lot of this comes down to personal taste. However, I think that some people are swayed by sentiment in this case, and confuse what the tour represented with the substance of the performances. The venues were larger than any which Queen had previously played in Europe, but the recordings which I have heard reveal a slightly soulless sound, with some of the intimacy and technical punch of previous tours sacrificed for sheer spectacle and scale. Having said all this, Queen's shows were still emotionally affecting, and the 1986 tour certainly scored high on the "goosebumps" scale!

It is fascinating to speculate how matters would have evolved later in the 1980s, but alas we will never know....

All fans will have their own views on when Queen were at their best as a live band. My own ideal situation, for what it's worth, would have been the 1982 version of the band playing the 1977 set-list at Wembley Stadium. That would have covered all the bases!

Fahrenheit 451 - Ray Bradbury

2011-10-31T22:21:00.002Z

One of the authors who I had been meaning to check out for a while is Ray Bradbury, having been intrigued by what I had read and heard about his work and life. So, whilst in a bookshop the other day, I took the plunge, and purchased Fahrenheit 451 and The Martian Chronicles.

First to receive my attention has been Fahrenheit 451. These are my own observations on what I think that Bradbury was trying to say, and the themes of the book. I accept that others may place different interpretations on things!

The plot concerns a future dystopian society (it is not specified which year this was), in which books have been banned, and the main role of firemen is now to burn any books which come to light. The main character, Guy Montag, is a fireman who begins to question the status quo. This process is accelerated following Montag's discussions with a girl by the name of Clarisse McLellan, who has managed to retain some imagination,curiosity and appreciation of life for its own sake.

As Montag wrestles with his conscience, we learn more about the circumstances in which people are living. Books have been outlawed because they encourage creative and critical thinking, and these things in turn engender inquisitiveness, doubt, uncertainty and instability. The mass media, medicines and repression are used to crush these things, in favour of certainty, homogeneity and equality of outcomes.

At various stages, Montag's resolve wavers, and we wonder whether he will decide to acquiesce, and become subsumed into the sheep-like majority, observing the maxim "anything for a quiet life". Eventually, following the plan by the firemen to burn books concealed at his own house, he makes his bid for freedom, linking up with a group of intellectuals who are dedicated to preserving knowledge by memorizing books. The story ends with an apocalyptic war, and the opportunity for some kind of "rebirth".

The first thing which occurred to me when reading Fahrenheit 451 was the style of story-telling. No detailed explanations are given of some of the elements of this dystopia, and readers are left to deduce some things for themselves. This is partially the case with the Mechanical Hound, which is the subject of several of the most harrowing passages.

Some of the stark imagery in the novel is really quite unsettling, but probably essential in conveying events, and concentrating the mind of the reader.

Fahnrenheit 451 was published in 1953, and thankfully most of the restrictions depicted within have not yet materialised in our world. However, whilst reading the book I was conscious of the extent to which some of the phenomena discussed therein have seeped into our existence. Indeed, it is believed that in writing the novel, Ray Bradbury was commenting on the direction of post-war America.

In the novel, much is made of the use of "trash" culture and medicines to induce a type of numbness, helping to create an illusion of happiness, activity and prosperity, and as a means of suppressing original and dissenting thought. Filling the minds of the populace with ample but useless information. In our own 21st century context, reality TV and consumerism are added to this cocktail. Suitably anaesthetized, people allow their thinking to be done by others on their behalf.

There are several quite disturbing references in the work where characters display a chillingly blase and matter-of-fact attitude to war, violence and death. Of course, such "desensitization" is often remarked upon as a cause for concern in current times. People becoming divorced from pity, empathy and emotion.

One of the scenes in the novel which had the most prescience was the one in which politics was discussed. The merits of presidential candidates were debated entirely in terms of their physical appearance, speaking style or perceived personal charisma. Ideas, principles and values were of secondary importance. Does that sound familiar? The phrase "dumbing down" had not yet been coined in the early 1950s....

Another part of Fahrenheit 451 which jumped out of the page was the effort by the authorities to orchestrate the manhunt for Montag. When the fugitive proved elusive, matters were stage-managed in front of the TV cameras, and an innocent person used as a "prop". All to keep the masses docile and subservient. In the view of the powers-that-be, the ends justified the means. Truth and justice were secondary. Shades of 21st century media manipulation...

What conclusions do we draw from the fact that Guy Montag finally resorted to violence? Was the author hinting that subjugation can only go so far before some citizens "snap"? On the other hand, matters truly came to a head when the books in Montag's house were discovered. Is it the case that humans often only lash out when their own domain is threatened? Montag's own moral compass seems confused in this part of the story, perhaps illustrating how repression causes people to behave irrationally and vengefully.

The dilemmas faced by some of the characters also pose the question of whether in life we should accept things as they are, however unsatisfactory, or rather be true to ourselves. The latter course of action may lead to doubt and uncertainty, but allows us to feel truly alive, vibrant and fulfilled.

Fahrenheit 451 is definitely one of those novels which sets you thinking....

Indian Grand Prix 2011 - Talking Points

2011-10-30T18:56:00.000Z

I must confess that until Sunday I had not given the Indian Grand Prix my undivided attention, because of other commitments. However, having now watched the race, and caught up with some of the gossip and paddock talk, I thought I would offer a few observations.

First of all, the circuit itself. Granted, it is not exactly the Nurburgring Nordschleife, but equally it is a cut above some of the other much-criticised "identikit" tracks which have come on stream in recent seasons. There are some nice sweeping corners, a good long straight and, (whisper it quietly,) some changes in elevation.

By and large, the track seems to have received a favourable verdict from the assembled drivers, pundits and fans. Admittedly, we did not witness a particularly scintillating contest at the front of the field today, but the racing lower down the field served notice that the Buddh International Circuit is a worthwhile addition from a spectacle viewpoint.

For me, another thing to emerge from the weekend has been the continuing crystallization of Sebastian Vettel's status as the undisputed "benchmark" driver of the present era, the man whose sheer excellence all others drivers must now aspire to. His name may not yet resonate like those of Senna, Clark, Stewart, Schumacher et al, but the German increasingly sets the standards against which others are judged.

Of course, the pre-eminence of Vettel brings with it problems for the sport itself. While fans and those directly involved would no doubt champion F1 as the ultimate triumph of excellence over mediocrity, not everyone sees it that way. Indeed, it is surprising that the non-specialist mainstream media has not made more capital out of Vettel's perceived domination. Perhaps I am doing them a disservice, and even they may have taken note of some of the spirited racing going on throughout the field this season.

On the question of the Hamilton/Massa incident, my initial reaction was "six of one, half a dozen of the other", feeling that whilst the Brazilian did turn it, Lewis could hardly claim that the corner was "his". I'm not sure whether mine is a minority view. In any event, Massa received a penalty from the stewards!

The collision with Massa was just another disappointment for Hamilton. One can only hope that he is able to enjoy a positive, problem-free winter, and emerge reinvigorated for the 2012 season. Of course, one of the issues he will have to face is the shifting balance of power within the McLaren team, as Jenson Button continues his quiet ascendancy.

Further back, Toro Rosso had another solid race, and in particular Jaime Alguersuari. There was some good dicing involving the Force India cars, the Renaults and Perez. Mercedes were only slightly less lacklustre than usual.

On a slightly lighter note, two other things occurred to me from this weekend. Michael Schumacher is still in great physical shape, and Alguersuari currently has the best "designer stubble" in Formula 1!

Bring on the last two races!

Electric Light Orchestra

2011-10-27T22:05:00.000+01:00

I have what is fashionably described as an "eclectic" taste in music, and therefore regularly find myself defending some artists or genres against the derision of other people.

An example of this trend would be the Electric Light Orchestra. It seems that rather than heap contempt on ELO, many critics see them as figures of fun or ridicule, as if they are just too inoffensive to warrant genuine scorn.

My initiation into ELO's work was via my brother,who was a keen fan of theirs when he was a youngster. Natural suspicion of one's sibling's tastes instilled some resistance in me, and I largely ignored their music for many years.

It is only in the past two years or so that I have re-discovered ELO's catalogue, due to the wonders of the internet. I now find myself enthusing over their earlier work, particularly that recorded in the period 1973-76.

I find that the albums On The Third Day,Eldorado,Face The Music and A New World Record successfully incorporate the best elements of the band, namely Jeff Lynne's infectious Beatlesque melodies and also the more experimental or progressive direction which was hinted at on their first two records.

When first introduced to ELO's music, I gravitated towards their work from the period 1977 through to the early 80s, probably because it was more readily accessible and available. However, on reflection I find those later albums to be somewhat lacklustre and over-produced. Also, the orchestral backing became excessively syrupy. The earlier LPs may have lacked polish in parts, but they had a grit and spontaneity largely absent from Out Of The Blue and Discovery.

ELO's output in the 1980s did not fully return them to the heights of the middle of the previous decade, but there were signs that Jeff Lynne was returning to his roots in rock n roll and pre-Beatles pop. The single All Over The World, from the 1980 Xanadu soundtrack, was an absolute gem, and showed that Lynne still retained his songwriting sensibilities.

My view possibly differs from other fans, but I feel that the band peaked artistically around the time of Eldorado and Face The Music. The albums either side of this showed them first discarding some blemishes and excesses, and then afterwards pointing the way towards a blander and less inspired phase.

Perhaps one of ELO's problems with the arbiters of taste was that they were not "prog" enough to be ranked alongside the likes of Pink Floyd, Genesis and Yes, and not sufficiently "rock and roll" for those who prefer their music more rootsy.

However, for those who relish intelligent and melodic rock music, ELO's mid-70s efforts, and also some of their other work, are definitely worthy of some attention.

Motorsport in the 1980s

2011-10-25T19:09:00.000+01:00

Over the past couple of days, I have been watching lots of footage of the the spectacular Group B rally cars of the 1980s, and the thought occurred to me that around that time, most sectors of four-wheeled motorsport were, by most measures, buoyant and interesting.

Certainly, the three main world championships of the time were enjoying something of a boom or renaissance, although there was some overlap between these. F1 had its "changeover" period in the early 80s,when turbos and normally-aspirated ground effects cars co-existed, followed by the fully fledged forced-induction era. At the same time Group B rallying was starting to flourish, and Group C sportscars were getting off the ground.

A number of factors contributed to this situation. The global economic climate began to improve from around 1983, thus encouraging involvement and commitment from manufacturers and sponsors. Television coverage of motorsport had already begun to burgeon in the latter part of the 1970s, and this no doubt prompted many companies to get involved. As the level of competition and media exposure intensified, so public interest increased, and a kind of "virtuous circle" was established.

Regulations and technology also helped to make this period memorable, and there were plenty of ambitious and astute people willing and able to exploit both. This was an "anything goes" time, in keeping with the general social tenor of that decade. Big and brazen was the order of the day in most things, and motorsport was no exception...

Another important point to make is the nature of the technology which was around in the 1980s. This was before the full onset of the electronics age, and most of the attention seemed to be allocated to increased engine power and sheer speed, and comparatively little to aerodynamics and traction. This ensured that for a few years we had a wonderful spectacle, the like of which we will never again witness.

Overall, the cars and racing of that era may have lacked some of the charm and finesse of earlier decades, but few could dispute the entertainment value, and the vigour of the competition. Drivers still seemed to have ample opportunity to express themselves.

From 1986, this golden period of sorts began to unravel, for a variety of reasons. Group B rallying was shelved following the tragedies of 1985/86. Concerns about safety probably contributed to the banning of turbo engines in Formula 1, although costs and sporting factors also came into play. Group C sportscar racing, by contrast, appears to have been sacrificed due to official folly and politicking.

By the dawn of the 1990s, top level European-based motorsport was facing a more regulated and sedate future....

The Manchester derby

2011-10-23T17:54:00.000+01:00

Well, as a Leeds United fan, things could not have worked out much better this weekend. After Leeds fashioned a narrow but important win on Saturday, so Manchester City defeated their local rivals 6-1 in one of Sunday's matches.

No doubt many supporters of other clubs will be gloating and taking delight in Manchester United's discomfort and misfortune. However, history tells us that Sir Alex Ferguson is perfectly capable of rousing his men from their disappointment, and emerging victorious in May.

Whilst it would be premature and unwise to write off the Old Trafford club, it does seem that this City squad is closer to being the genuine article, beginning to function as a well-oiled machine, rather than as a collection of personalities and individuals. More importantly, perhaps, they look to have more belief and togetherness than before.

The gruelling winter months will tell us much, and Roberto Mancini will still be required to keep all of his star players happy, and ensure that morale can withstand any unforeseen setbacks. The City cause is arguably aided by less intense competition, with the jury still out on the "new" Chelsea, Arsenal off the pace, and other pretenders not yet entirely convincing.

The next few months will reveal plenty about the respective coaching and playing staffs of the two Manchester clubs, but I say again, write off the men in the red shirts at your peril....

Peterborough 2 Leeds United 3

2011-10-22T18:35:00.001+01:00

I didn't follow this match via either television or radio, but by various snippets of information on the internet!

Either way, a very encouraging win for Leeds;the sort of closely contested victory which could prove crucial come the end of the regular season.

The result maintains the team's momentum, and keeps Leeds firmly ensconsed in the play-off positions.

Another tough away fixture, at Birmingham, beckons, and any sort of result there would be very praiseworthy.

It is still early days in terms of ascertaining who the main contenders will be in the Championship, and this particular division is notoriously unpredictable and volatile, but on paper almost every match looks quite daunting. Consistency and resilience seem to be the keys to prospering, and this Leeds team may be on its way to acquiring these traits, to a reasonable degree at least...

As the saying goes, though, it is a marathon not a sprint, and these are still early days.

Chinatown

2011-10-21T17:23:00.000+01:00

Last night, for the first time in many months, I watched Roman Polanski's Chinatown, probably my all-time favourite movie.

I was reminded how evocatively and seductively the film depicted both the glamour and the menace of 1930s Los Angeles. This process commences even with the opening titles and music, which help to draw in the viewer.

Jack Nicholson stars as Jake Gittes, the street-wise private detective who, almost by accident, uncovers an ever greater web of corruption and sleaze. Faye Dunaway plays the part of the archetypal "black widow".

One of the most affecting performances is that by cinema legend John Huston, as the sinister Noah Cross. Even the director himself has a cameo role!

One of the most interesting aspects of Chinatown is the disturbing and surprising ending. Justice is not necessarily seen to be done, and the "good guys" do not win....

This is one of those films which everyone should try to see during their lifetime....

1988 Japanese Grand Prix

2011-10-20T15:54:00.001+01:00

Last night, I watched a full-length video of the 1988 Japanese Grand Prix, and a few things struck me about the race, and about F1 in general during that particular time.

The footage first of all reminded me how ungainly and bulky many of the cars of that time looked, in particular those of the teams which were still running turbocharged engines. Maybe this impression is amplified by many years of watching leaner and more compact normally-aspirated cars. That said, I have read more than one journalist remark how development was curtailed in readiness for the new 3.5 litre regulations to come in 1989.

It was notable how much of an impression some of the "atmo" cars made at Suzuka, particularly Ivan Capelli in the March, and to a lesser degree the Benettons. After a promising start, both the Ferraris and Lotuses seemed to struggle.

The performance of the March chassis against the mighty McLarens was impressive, and this of course was an early indication, in F1 terms at least, of the talents of one Adrian Newey...

Sometimes the memory can play tricks. My recollection was that once he had taken the lead, Ayrton Senna had built up a sizeable lead. However, the video revealed something different. Alain Prost stuck doggedly to his task for many laps, and Senna really had to work for the victory, which of course clinched his first world championship.

One thing that has changed since 1988 is the nature of the television coverage. Satoru Nakajima and Aguri Suzuki seemed to get about 60 percent of the airtime!