Thursday, January 22, 2026

Big War Movie Themes - 5) The Longest Day (1962)

Back of the Big War Movie Themes LP with toy DUKW
Theme tune: Really oddly there is absolutely no music whatsoever in this film! Except for the duh, duh, duh, dah - from Beethoven's fifth, I believe. Which represents the letter V (in morse code . . . _ ). The theme tune - The Longest Day - finally appears at the very end, not sure if a certain "Jarre" might have been involved in the music, but the credited artist (on the album) is Paul Anka. A Canadian singer / songwriter who's Theme from The Longest Day is also the official march of the Canadian Airborne Regiment. Even more fun he actually appears in the film as a U.S. Army Ranger. Does this make him the only composer of the theme tune to actually be in one of these movies.

Year: 1962

Directors: Ken Annakin (British and French exteriors), Andrew Marton (American exteriors), and Bernhard Wicki (German scenes)

Length: 2h58m

Format: BBC iPlayer (free)

Synopsis: Biggest ever land invasion of Europe, lots of things go bang. The allies triumph in the end.

For more go here 

Historical Accuracy: Yes, not bad at all. Many actual soldiers and locations were used and splitting the filming into three different sections with their own (local language) directors made a lot of sense. Not a patch on modern films like Saving Private Ryan, but for it's time a colossal effort.

Is it a good film?: I'll be honest, I drifted off a bit, but nevertheless it's a classic, innit! It's got Richard Burton in it, after all, he pops up quite a lot in these films.  It's also got John Wayne and Robert Mitchum in it, neither of whom is fantastic. Apparently it didn't do all that well at the box office.

Overall: 8/10

Up next: WHERE EAGLES DARE  (1968)

Wednesday, June 15, 2022

Call This A Cycle Lane?

Some white lines and a bicycle symbol (offset to the left) painted on Portland Road. Amongst many cars.

Bikesy has been at it again.  Not painting back in the wonderful and tragically removed Old Shoreham Road cycle lanes this time. The bits in the single motoring lane parts that is, that should f*cking well still be there no matter what your opinion. No, this time they have ventured to the more refined vistas of Portland Road, so cultured is it that über-cool Bess Atwell even mentioned it in a pop number (Co-op). Sadly, this road has become infamous of late due to being somewhat sub-optimal for pedestrians and cyclists. The 35 side roads are probably mostly to blame (yes, I have counted them), although motor vehicle parking (both legal and illegal) and rather a lot of speeding motorists doesn’t help.  Pesky residents on bikes keep getting knocked over (tsk tsk, they should get more hi-viz).  The situation got so bad that for a while it had not one, but two petitions begging councillors to take action.  However, the folk who council (is that a thing) around these parts aren’t too bothered to go out of their way for residents who cycle, or anyone wheeling really; like children on scooters, disabled folk on mobility vehicles, you name it, they won’t touch it with a 12-foot barge pole (metric barge poles are available). No, they are far too busy bending over backwards for the much-beleaguered motorist.  Indeed, so unenamoured of the non-fossil-fuel-powered types are they that when a local school asked for action on road pollution, rather than taking steps to slow or remove traffic from the vicinity, they did absolutely squat-a-rooney.  Or perhaps even less than that.  In the end it was left to the parents at the school to, wait for it, crowdfund a hedge to at least try and mitigate things a bit.  Your blogger was moved to email our MP, a certain Peter Kyle, to express my outrage but an assistant replied to tell me: it was a crying shame, but he’d not be doing anything either. Plus ça change Rodney?

Well now ignoring the stunting of kid’s lungs is one thing, but facing the brace of petitions to do something, nay any-damn-thing about road safety, the councillors in question finally realised that perhaps [the votes of] locals mattered more than people driving through.  At least, that’s my best guess.  So, it was deemed that action would be taken!  However, rather than one of those cheeky proven solutions, like, oh I don’t know, off the top of my head… protected cycle lanes, they went for something a little more outré.  No, in a gushing fit of, “we know how to bring both sides together” in a one-horse race, they came up with a plan that was somewhat more subtle. The, let’s kindly call it, compromise plan, involved planting some trees, putting in a few Sheffield stands and narrowing four or so of the many (35 exactly FFS!) side roads to slow ingress and egress of the almighty driving community.  This last bit was, at least, a good idea, if a little short of the gold standard.  Still all this favoured the horticulturalist (mildly), pedestrian (a little) and the stationary cyclist without a shed (a smidge) but not much for yer actual moving bicyclists.  Something else was required, so what they came up with was a series of white painted lines (to mark where the doors of cars might open by the acres of car storage) and a few bicycle stencils IN THE MIDDLE OF THE ROAD.  Well, I say in the middle, but I actually mean, offset to the left (like the steering wheel of a K-reg Vauxhall Calibra, trust me on that one).  Sort of saying, why not ride here oh bewheeled denizens of Hove?  Well, sure I can, but that’s not really going to protect me from anything very much is it?  Said cycling “measures” didn’t even run the whole length of Portland Road as they rather petered out in the vicinity of the deadliest junction of all – Olive Road (the only place to cross the railway in the whole length of Portland Road, look it up) and neighbouring trading estate. I was rather nonplussed by this solution I have to say.  And it seemed that Bikesy, or another guerrilla artist, god knows Hove has enough of them, agreed with me, as word got round (well I saw on Twitter) that someone has cunningly added some graffiti to the paintwork.  

It took me a couple of goes, but I eventually located the artwork.  Painted by the bicycle symbols in the road, heading west, were the words: Call. This. A. Then they cunningly used the representation of the bicycle as a cipher for, well, a bicycle. Lane.  Call this a cycle lane?  Well, no, I don’t think I can call it that.  I call it some white paint applied in a fairly arbitrary fashion.  It won’t slow the motor traffic nor will it remove it. No, as always with advisory painted stuff, rather than sorting the issue once and for all, it’s mostly just bemused people, cyclists and motorists alike. And to think we paid for this nonsense. I suspect it will have the opposite effect of what was intended.  Which is to say that locals who cycle won’t be voting for the councillors who approved this crap.  If you want to protect cyclists build a damn (protected) cycle lane, stop illegal and dangerous parking, close the rat runs, put in a 20mph speed limit and then enforce the hell out of it.  If you want to protect kid’s lungs from pollution then remove parking near schools, close roads at school times and enforce anti-idling laws. I mean shrubbery is nice and all, but it’s not going to save anyone’s life.

Anyway, I made a TikTok about it like the cool kids and put it on Twitter, you can watch it here.


Wednesday, June 08, 2022

In the Car Club

Astra SRi Estate with logo of Enterprise Car Club parked on a suburban road.The final straw was probably when it grew mould.  On the inside.  It was time to get rid of my car again.  

I’d actually had a quite longish period of no car ownership back from about 2003ish until about 2010, relying on a partner’s car or my dad’s when I really needed one.  But in 2009 I was back in a rock band again and it’s hard to cart amps and drums and so on without a car, so I had to re-enter the motoring world.  Not having a lot of spare cash, I plumped for a slightly knackered Skoda Octavia 2.0TDI that at least had pretty decent space and mpg.  This car, whilst perfectly adequate, turned out to have a battery drain issue that meant it often wouldn’t start if left for a day or two.  A temporary solution of disconnecting the battery every night wasn’t going to cut it forever, so I flogged it to some Romanians for £400 and raided my savings to get something better.  

I have to admit wasn’t particularly enjoying the experience of being a car owner at this point, so I thought I should at least try and get a car that I’d enjoy driving.  One of the few cars that had fulfilled this criteria from my company hire car days was a BMW 316i, the old boxy ones, E or F reg if I remember correctly.  We weren’t actually allowed to get them as hire cars, but a friend of mine (Arif) had stumbled on a loophole.  When the cars we were allowed to get (Vauxhall Cavalier type bland nonsense) were unavailable, the hire company would upgrade us.  So my friend had ended up with a BMW this way one time.  When he phoned up to book the next one the agent asked him “What did you have last time?” and innocently he said it was the Beemer and that’s what he got again.  So began a rather fun time when I got to drive a couple of the aforementioned BMW 316s, a Golf GTI and an Escort XR3i.  The BMW wasn’t even a “sports” model, but it was, by far the nicest of the lot.  In my opinion car design pretty much peaked in this period (late 90s I guess) nothing has ever come close for me since.  I actually ended up owning a Ford Escort 1.6GL, an utterly lethal tin can of a car, capable of 0-60 in less than 10 seconds.  This was followed by a Vauxhall Calibra 2.0i 8v in pearlescent paint, that I stuck 5-point alloys on, a car I drove at over 120mph on my first test drive!  My final car in this period of ownership was actually another BMW – this time an ex-company car 316i Compact.  A solid car, but nothing to write home about.  No, it was always the memory of that first 316i that kept coming back.  At the time what I would have really liked was an M3, but that was always beyond my means.  So when I found a listing for a BMW 320i M-Sport Touring (estate to you and me) it ticked enough boxes, so I went for it.

The car itself was an 06 plate and, whilst it went round corners in a pleasing way, it had a habit of letting me down.  I went through a top hose, a valvetronic unit and a host of other bits and bobs.  The earlier cars I’d had were all, pretty much, self-maintainable.  The Escort had had the lot. With the help of my friend Mark, I’d changed the front brake disks and pads, spark plugs, starter motor and alternator. We’d put in a new set of Blaupunkt speakers, a couple of pull-out radios (they were easy to nick, just smash the rear quarter light and let yourself in) and a couple of aerials (the auto extending ones tended to snap if you leant on them, the final one was a woven steel example).  In my first car, a Ford Fiesta L (950cc engine) I’d even made a head gasket out of a cereal packet, with my dad’s help.  But these later models were harder, and more expensive, to look after.  Luckily, I had a BMW garage - with a spares department - nearby when we moved to Hove, and eBay was now a thing, so I did what I could, but still it ate money.  Then COVID struck and the thing ended up parked on the drive for months on end.  The battery went flat, but that was no biggie as I had a booster battery and smart-charger from my Skoda days. It also developed an issue where it wouldn’t open on the button in the key, so you had to use the real key and set the alarm off every time you opened it. This was starting to get annoying.  But when it grew mould on the inside (I guess it had developed condensation when the sun was on it, that then led to the right conditions for mould to grow) I knew it’s number was up, that was also when I thought it was time to look again at whether I actually needed a car at all, our band days having come to an end with the advent of our family.

In many ways I was already living the car-free life.  I’d started cycling before lockdown and had finally treated myself to a decent urban bike – a Raleigh Pioneer.  All my shopping was done on foot, trips out were by train and bus and we only really used the car for visiting family, trips to National Trust type things and holidays to the west country.  Would it make sense to ditch the car and go down the club car route?

I have to admit I was nervous to do it.  There was an Enterprise Car Club car two streets away, so it wouldn’t be much effort to get it. There was only one way to figure this out – set up a spreadsheet. Part of the process was understanding how much my (by now running pretty well) Beemer was worth.  I logged on to one of those websites that promises to buy any car and got a value of about a grand (it had been 6k when I bought it) which was probably pretty fair.  Somewhat suspiciously the very next day a guy knocked on my door asking if I was thinking of selling my car.  Well since I was, we came to an agreement and my car was gone later that day for a tenth of what I paid for it in cash. 

The spreadsheet was somewhat inconclusive, so I’d first tried the local car hire company.  The car we ended up with was a dented, low spec, tin can which didn’t really inspire confidence.  So that was out.  I consulted the spreadsheet again, this time realising that, although I had good figures from the cost of owning, servicing and maintaining my previous car, I’d forgotten to factor in the price of petrol.  This is included in the hire cost of a Car Club vehicle (there is a card in the glove box for you to use) and now the numbers looked pretty good.  

So, I took the plunge and joined the locally available Car Club (Enterprise) – that was 10 months ago.  In that time we’ve had a good experience.  We’ve mostly used Astra SRi Estates.  Modern cars that we, possibly, could just afford, but we’d have all the expense of looking after them.  There are also smaller hybrids, people carriers and even vans that I can borrow by the hour or day in walking or cycling distance of the house.  We’ve not yet done a holiday with one, but we’ve done all the other journeys that we’d make in a year and they’ve all been low hassle.  There were some teething troubles – getting my head around the process, understanding how to operate and start some of the cars and, worst one of the lot, people parking in the designated car club parking space (please don’t do this, a) you’ll get a ticket, b) you are literally blocking a space used by dozens of local people, do you really want a bunch of extra cars parking in your road?!).  But I’m there now.  I actually quite look forward to taking one of the cars, they are usually clean, always well maintained, and the feeling when you park it up (and take pictures all around to prove you didn’t damage it) and IT’S NO LONGER YOUR PROBLEM is just the best.

I’ve yet to crunch the numbers properly, as I’m not yet at a year of membership, but to make sure I had accurate figures to work with I calculated my annual cost of petrol in my old car.  This turned out to be more than I think the total cost of my hires this year will be!  So I’m looking at a saving of about £2,000 this year!  Quite remarkable.  With the cost of petrol rising, I knew it was probably time to move on a car which could only do about 36mpg max (I really didn’t want a worthless stranded asset), but I hadn’t expected the savings to be this big.  I can afford to take the car for a full week’s holiday (when I’ll rarely use it) and still be saving money.  Although, one of the huge benefits is that I’d can get a quote for doing this and compare it to all the public transport alternatives.  The real cost of our travel is now comparable like-for-like, we have no embedded costs (as those who lease a car do) we can judge each individual trip on its merits, and pick the cheapest (and best) option for us. 

This method of shared ownership really is the present and the future.  I doubt we’ll look back, although now we have two kids we’ll have to see. Fortunately, our eldest prefers the train, bus and being on the back of my bike, way ahead of being strapped into a car.  So we’ll see.  One other unforeseen bonus is that we can now rent out our drive (we make about £80 - £90 a year so far).  With a CPZ likely to be introduce in our area soon, this should prove increasingly lucrative.

I’ll post again when I have the full year’s figures.  In the meantime, if you have any questions about any of this, please do ask.  The future is a world with much lower private car ownership.  For me it’s the dream, for everyone else it will mean quieter streets with fewer cars on them.  Win, win surely.

Wednesday, September 11, 2019

Big War Movie Themes - 4) Battle of Britain (1969)

Theme tune: Battle of Britain Theme by Ron Goodwin a wonderful soaring number (as you'd expect) however the scoring of the film was not without controversy.

Year: 1969

Director: Guy Hamilton

Length: 2h13m

Format: DVD bought off eBay for £1.71 without a case

Synopsis: Well it's the Battle of Britain isn't it.  So basically plucky Brits (erm with the help of Australian, West Indian, Belgium, Canadian, Czech, French, Irish, New Zealand, Rhodesian, Polish, South African, US and other commonwealth pilots, amongst others.  To be fair the film makes a big point of listing all the non-Brit pilots at the end of the film, which is a poignant moment) take on the Germans and (SPOILER ALERT) just about manage to cling on, thus avoiding the invasion of the British mainland in 1940  The film focusses on the people but also gives very strong cameos to the equipment (Hurricanes, Spitfires and radar).

For more go here

Historical Accuracy: Well as far as the accuracy of the planes, dogfights etc not bad at all, as you'd expect.  Much effort was made to locate period compatible fighters and bombers and the aerial photography is simply stunning.  The city bombing sequences are less realistic, but presumably a lot more difficult in 1969.  Notable accuracies are the French speaking French and the long waits, with mounting tension, between sorties.  The film used a mixture of real pilots, established and up and coming actors (witness a very young Ian McShane who still manages to look older than anyone else) which seems to work pretty well if it's a little wooden at time.  The panic of trying to get planes airborne as bombs are literally falling in the background is palpable and done well.  They didn't flinch from showing the dead and the effect of this on others either.

The treatment of women is mixed.  They are shown doing incredibly important jobs, but somehow also managed to throw in a few cliches and a scene of Susannah York in her stockings.

Is it a good film?: Flippin' heck it certainly is.  The flying scenes get a bit repetitive after a while to the modern eye, but that was the nature of it and can't really be criticised.   The aerial photography combined with the mundanity of ground life and the permanent scarring of those that managed to survive being shot or bombed gives it a good balance.  Perhaps compared with the modern benchmark of Saving Private Ryan et al, we are spared the very worst of what war is like, but nonetheless I think they did an amazing job at the time.  Okay it's also a propaganda piece, but considering that the Vietnam war was in full flight at the time it doesn't shy away from the war is hell theme.  The final flight of the "few" to stirring music is the complete antithesis of the music over black screen of Lawrence of Arabia, but it sends shivers down the spine nonetheless.  Of all the films I've watched in this series so far, this is the one that I would happily put on again now.

Overall: 8/10

Up next: THE LONGEST DAY (1962)

Wednesday, May 22, 2019

Big War Movie Themes - 3) The Guns Of Navarone (1961)

Theme tune: The Guns Of Navarone by Dimitri Tiomkin. Also features a number of traditional Greek tunes arranged my Tiomkin.

Year: 1961

Director: J. Lee Thompson

Length: 2h30m

Format: DVD bought off eBay for £2.20

Synopsis: In order to allow the evacuation of 2000 allied troops a mis-matched group of commandos (played by Gregory Peck, Anthonys Quinn & Quayle and David Niven amongst others) are sent to destroy a pair of German super guns on a (fictional) Greek Island.  It's based on the book of the same name by Alistair MacLean (1957).

For more go here

Historical Accuracy: Well it's a fictional story, so in a way this is not that important. However, since it's set in the 2nd World War some degree of accuracy is required.  Although they get most of the weapons right (a relief for me) they had a complete fail with the tanks and trucks (one of which is clearly marked "Dodge").  Also, a modern film would consult real soldiers for key scenes and there's none of that going on here, with artillery and tanks simply lined up along the coast at one point supposed waiting for an invasion.  Completely unforgivable, for me, is the scene when a soldier is using a metal detector to look for explosives, swinging it over metal rails without a beep!

Anthony Quinn pops up again playing another swarthy foreigner, although I note this film preceded Lawrence so perhaps this is what got him that role.  Actually it's interesting watching the films in this order that certain actors pop up more than once (Alec Guinness in Kwai and Lawrence, Anthonys Quinn & Quayle (playing another english officer, so again perhaps it swung him a role in Lawrence) in Lawrence and Navarone).  The languages spoken are all authentic though, with no subtitles, which works well for me. - 6/10

Is it a good film?: It's a pretty good watch, but it perhaps lacks the true "epic blockbuster" feel of Kwai or Lawrence.  It feels more like a solid 60s adventure picture, but perhaps that's fine.  It starts with quite a jarring sequence of real newsreel footage and a voiceover, which is very much not something you'd see in a true classic.  Some say it's the best of the Alistair MacLean adaptions, but I'll reserve judgement until I've watched Where Eagles Dare again.

The action sequences are key to this kind of film and they are a mixed bag.  The scenes in the boat are pretty good (and interestingly played out with just sound FX - no music, which is something modern films could learn from), but the final battle scenes are a bit TV movie compared with the current hyper-realism.  They just about get away with it, and for the 60s it was probably state-of-the-art.  Nice to see the women in the film portrayed in fighting roles and also being more flawed than is usually allowed.

PS The Extras on the DVD made for interesting watching, partly as it made it clear the actors chose the director, not other way around, and also for the way the whole island of Crete turned out to watch the filming.

Overall: 6/10

Up next: BATTLE OF BRITAIN (1969)

Tuesday, May 07, 2019

The Very Best Of The Light Programme

The Albion Radiophonic Corporation is, reasonably, proud to present the Best of The Light Programme 1898. When we say "Best of" we mean "most tolerated" and by "most tolerated" we mean "received the least complaints".   If you've not listened yet to any episodes of the ARC Light Programme then this is a great place to start, or at the very least it's "a" place to start.  You could, naturally enough, start with the first episode and work your way up, but hey, we're not ones for expecting anyone to act in a conventional way.  Heaven forbid.

Now this particular compilation from the first season contains a letter from Mrs. Twomble, folk songs collated by Dame Dilemna-Spaniels, Lady Boudicca & Lord Hercules of Cheam doing something or other and Mayor Flange of Treacle Dripping.  Quite how we managed to attract such and eclectic bunch of contributors is anyone's guess. 

All the music has been specially composed by Charlotte Savigar and the New Albion Synthetic Orchestra.  Apparently the style is what one might refer to as "steampunk" whatever that is.

To contact the team who put the show together send a SAE to letters@talesofnewalbion.com

Otherwise click here for The Very Best Of Tales Of New Albion

Big War Movie Themes - 2) Lawrence Of Arabia (1962)

Theme tune: Theme from Lawrence of Arabia by Maurice Jarre (who also wrote the score for Dr. Zhivago) - the soundtrack won an Oscar.  One of the most interesting features of the film is that there are no images over the opening music of both halves of the film, just a black screen for 5 minutes.  This must have been particularly evocative in the movie theatre.

Year: 1962

Director: David Lean

Length: 3h38m

Format: DVD bought off eBay for 99p

Synopsis: An Englishman with vivid blue eyes  (Peter O'Toole) goes out into the desert more or less against his will and ends up leading the Arab revolt against the Turks (and others).

For more go here

Historical Accuracy: It's a bit of a mixed bag, the first half being more accurate, it seems, than the second.  Various scenes and characters have been conflated, and some of it was just made up.  Overall the Arabs don't seem to come out of it too well.  It also gives the impression that TE Lawrence led the Arab Revolt practically singlehanded, but this was not the case.  The overwhelming impression is that the Bedouin tribes made up the bulk of his army, but in fact it was regular soldier.  Again it's about a 5/10.

Is it a good film?: Well yes certainly it is, especially the first half where the desert is the real star (I'd be surprised if it wasn't a big influence on Star Wars) although it must have been hell to film there.  Quite how they got the camels to do all the things they did, is a feat in itself.  Again they shoe-horned in various americans to ensure it got good coverage in the States, and surely they could have found someone more suitable than Alec Guinness to play Prince Faisal?  Despite all the noted actors, it's actually Omar Sharif who steals pretty much every scene, and as an Egyptian is the most authentic character of the lot.  The only women in the film are dead ones.  It definitely loses it's way in the second half (there is a proper interval, thank goodness) with some bizarre homoerotic / messianic type scenes when Lawrence is captured by the Turks.  It's not a very strong ending to an epic film in my opinion.

Overall: 6.5/10

Up next: THE GUNS OF NAVARONE (1961)

Friday, March 29, 2019

Tales Of New Albion - 2nd Edition

Many moons ago I woke up with a fully formed Steampunk story in my head.  It seemed a good idea to write it down and after my good friend Ben Henderson booked me to read it out at one of his Convivial events I did so.  Well one thing led to another and before I knew it I'd finished a collection of 10 Steampunk short stories and published my first book on Amazon.  This featured artwork by Frog Morris which was splendid, but in other ways it wasn't quite right.  For a start there were no page numbers, no index and no foreword.  Also, there was more than the odd typo that really needed correcting.  Well due to another of my Tales Of New Albion side-projects I re-read all 10 stories for my podcast, which helped me correct most of the problems.  I also was greatly assisted by John "Jags" Smith who also read through the entire manuscript and added comments.

So the stories were there now, but I still wanted more.  I got Frog to tweak his artwork and create a new chapter divider.  I also got the aforementioned Ben Henderson to submit a brand spanking new foreword.  I even managed to figure out how to create page numbers!

And so the 2nd Edition of Tales Of New Albion came into being and you can be a proud owner at any point.  Just follow this link and order your copy now.

Or see you at the Red Cape Publishing Book Fayre (8th June - Brighton Unitarian Church) where you can inspect the product closely and get your copy signed.  Oh and did I mention there is an album of original music by Charlotte Savigar also available?  Well it is.


Wednesday, March 13, 2019

Big War Movie Themes - 1) The Bridge On The River Kwai (1957)

Theme tune: Colonel Bogey (K.J. Alford) and the River Kwai March (Arnold) - the former was a marching tune known to soldiers in WWII.  It is particularly haunting when first heard as the POWs march proudly into the Japanese camp.

Year: 1957

Director: David Lean

Length: 2h35m

Format: DVD bought off eBay for £1

Synopsis: A group of WWII prisoners of war are forced to built a railway bridge over the River Kwai by the Japanese.  The Colonel in charge of the british prisoners (Alec Guiness) stubbornly refuses to allow officers to work alongside the enlisted men when demanded to by Colonel Saito (Sessue Hayakawa).  When the bridge falls behind schedule he takes it on as a matter of pride to build the bridge properly.  In the end a commando raid destroys the bridge and at that point the colonel questions what he's done.

Read more here

Historical Accuracy: Probably about a 5 out of 10, from what I've read about it.  My own personal bugbear was that all the Japanese were armed with allied weapons.  Despite the treatment of the prisoners being very bad, it seems that is was short of what really happened.  One good thing is that the Japanese all speak Japanese and are not subtitled.  In terms of it's representation of WWII I would say that the first third is the best (where the prisoners are at the camp and the battle of wills between the two colonels takes place) and it gets weaker after that.  The weird section where the two colonels leave the bridge without any other soldiers and attempt to prevent the bridge being blown up is odd to say the least, however it does work within the scope of the plot and the two people driven by principle into acts that are not what we would consider to be right. 

The representation of women in the film leaves a lot to be desired, but I think it does come across that they were equally brave and served at great cost to themselves during the war.

Is it a good film?: Yes it is.  It was a very entertaining watch and despite bogging down in the middle third (where a shoehorned american character (William Holden) tries to get out of being part of the commando raid) it rolls along pretty well.  I certainly enjoyed watching it and would recommend it to anyone looking for a good film. 

Overall: 7/10

Up next: LAWRENCE OF ARABIA (1962)


Monday, March 11, 2019

Big War Movie Themes - Geoff Love & his Orchestra

We spent many hours in the car when we were kids and in those days we would listen to music on cassette tape to while away the hours, since there was not much else apart from iSpy books to keep us amused.  In heavy rotation were the entire Sky catalogue and the occasional Christmas present (the embarrassment of listening to Adam and the Ants - S.E.X. - it's on the B-side of Prince Charming -  with my parents both in the car sticks with me).  But one of our favourites, and indeed very popular at the time, was Geoff Love and his Orchestra playing the Big War Movie Themes (1971).  These were all haunting and evocative pieces of classical music and many of them are indelibly written into my memory banks.  Recently I decided that I wanted to hear those specific versions again and bought the album on vinyl (after all, who has a cassette player these days) and sure enough it's still a great listen.

It struck me though, that although I had seen a good number of the films featured, that I hadn't seen them all.  Also, I wondered how well these classic movies stand up when watched with modern eyes some 48 years later.  So I've decided to watch all 12 movies in the order they appear on the album (see the second photograph below) and rate the movie along with it's historical accuracy and depiction of conflict.  With modern offerings like Saving Private Ryan, Letters from Iwo Jima, Band of Brothers and Fury the benchmark for modern war films, it will be very interesting to see how they stand up.

If you want to play along with me then I'll post the next film at the bottom of the review post.  For fun I'll also be noting how much it cost me to get the movie (if I don't have it already) and what medium I watched it on.  I'll be very interested in your own memories and review.



Right - so here we go, first up:

THE BRIDGE ON THE RIVER KWAI (1957)

Wednesday, February 20, 2019

Tales Of New Albion - Halloween Special


Tales Of New Albion - Halloween Special

I've always been a big admirer of The Simpsons and had been looking for an excuse to shamelessly steal their format for my Podcast.  The opportunity finally came along in August of last year.  I'd been looking for other writers to contribute items such as the "Thought For The Day" section or other parts of the show, and mentioned this to Peter Gardiner - a prolific writer that I'd worked with in the Brighton Theatre of the Air group.  His style is very Black Mirror / Tales of the Unexpected and he likes to dabble in dark sci-fi and off-beat humour - as can be heard in his own series of podcasts - Whisper Through The Static - for 2Bit Productions.  If you would like to hear my voice on his productions then check out Unmoored and Late To The Party - see if you can spot me. 

Anyway, he seemed a perfect fit for a contribution and I was excited to receive a whole story to feature on the show.  Reading through it soon became clear that it fell more towards the Horror genre than my usual adventure Steampunk style, but that got me thinking.  It was time for a The Simpsons style "Halloween Special"!

These shows are amongst my favourites as then tend to be a collection of short sketches where all the usual rules (such as they are) are thrown out the window.  Absolutely anything is possible as long as it has a scary payoff and this let my mind run free and come up with something a little more frightening than usual.

So have a listen and see what you think.  You don't really need to know anything else about the podcast or Tales Of New Albion as this episode is very much a stand alone episode.  However, you might want to listen to the start of the previous few episodes to see what the "Listeners Telephone In" section is usually all about, or not.

Whatever you do, I hope you enjoy Peter's story, which will also feature in one of his podcasts soon.  And don't go having nightmares...


...although you can if want:

Hear the Tales Of New Albion Halloween Special

Friday, January 11, 2019

Judge Dredd - The Itch

I've always been a big 2000AD fan, in particular Rogue Trooper and Judge Dredd.  The audience at the recent Alan Reed gigs might have seen me sporting a Judge Dredd t-shirt.  In an effort to get back into writing fiction, I recently entered a competition to write a Dark Judges themed short story.  It didn't get anywhere, so here it is for general consumption.  All characters are obviously copyright to 2000AD and their publishers, it's just a bit of a fan story... enjoy.


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It started as an itch.  Right at the back of her skull, but somehow under the skin not on it: inside her head.  Just enough of a nagging doubt, an aching thought.  Just enough to keep her awake the last two nights wondering what it meant.  So she sits with her legs up on an adjacent chair, Lawgiver and helmet on the console beside her.  It’s 0300 – Psi-division control room is deserted apart from this one figure plugged into the PSU feeds flicking through the surveillance cams – an eerie light flickering across her face.  Now green, now orange, now red; casting weird almost ghoul-like shadows over the vacant chairs and blank screens around her.

Anderson was a Psi-judge and to a Psi-judge itches meant something.  Something scratching away at her, awakening, trying to get her attention perhaps?
She continued to flick through the cams, not knowing what she was looking for, not really sure why she was looking.  The pedways and over-passes were mostly quiet, well as quiet as Mega-City One ever was.  A light, dirty rain was splashing off every worn zipstrip, every pockmarked flyover.  The weather kept the perps indoors, the juves in their beds; just the loons out tonight - that kinda night. 
‘You’re here somewhere,’ she mouthed, her finger still tapping the button to switch cameras.  ‘Whatever you are.’  She reached one gloved hand round to gently rub the back of her neck under locks of long blonde hair, still grimy from a day of riding the Boomways.  It was more like a dull ache now; rubbing didn’t seem to be helping, so she gave up and tapped her finger faster.  Blocks flicked by, some she knew and some she didn’t, just hoping that something, anything stood out.  And then it did, by not sticking out at all. 

She sat up in the chair and flicked back two screens to stare at a long shot picking out a low rise conapt – something had caught her minds-eye, but what?  She rubbed her tired eyelids and tried to re-focus on the steadily flickering image of a dark, rounded building, a few lights showing here and there.  But it all seemed too quiet, too unassuming, too untroubled.  Maybe trying just a bit too hard to be uninteresting.  She squinted at the cam label.
‘Ian Kilmister Block, never heard of ya,’ she muttered, flicking the joystick to zoom in just a little closer.  ‘So why are you bugging the hell out of me?’  The itch flared again, a slight stabbing pain that gnawed at at her brain.  She rubbed her head again. ‘Yeah, yeah, I feel you,’ she acknowledged.
She reached out stiffly and pressed a button on the control panel to call a tech, nothing happened.  She glared at it icily.  ‘Drokk it!’ she thumped it hard with the heel of her hand and it gave a plaintive ‘beep’ and glowed to show it was working now. She drummed her fingers on the console, waiting impatiently for the tech to pick up, what was keeping them?
‘Tech div - Conner here - what can I do you for?’ The voice was crackly but not as grumpy as techs usually were.  Must have caught him on a good night.
‘Conner - Anderson.  Be an angel and call up all the perp stats for Kilmister for the last…’ She thought a second for a suitable period, most blocks called in hundreds if not thousands of crimes an hour, best not go crazy. ’…12 hours?’
‘Sure, I’m on it.  Looking for anything in particular?’ The voice sounded positively perky, she glanced at the console again just to make sure she’d actually pinged the right department.
‘Nope, just a hunch.’  She could hear faint tapping through the speaker as the tech did her bidding.  The tapping stopped and she heard a small intake of breath.
‘Crapola - some hunch.  I’ve never seen this before,’ muttered Conner.
‘What you got?’ Anderson leaned forward so as to hear better.
‘Nothing,’ he breathed.  She could hear frantic typing again, checking his figures no doubt.
‘Say again?’
‘Nothing, nada, zip.  Nothing at all for the last 12 hours.’  The itch dug it’s claws in again but she was already moving, holstering her Lawgiver and grabbed her helmet.  ‘Switching to helmet mic, stay with me Conner.’

Out of the Psi-division, past a slightly dopy looking maintenance crew, boots echoing in the empty corridors.  Hit the ziplift: basement, Lawmaster garages.
‘You still with me Conner?’ she adjusted her helmet, not used to the weight – Psi-judges rarely used them.  She felt her stomach lurch as the lift began its descent.
‘Yeah, I’m here.  Running the records back, last reported crime was 2 days ago, it’s normal before that.’
‘By normal, I guess you mean barely better than chaos?’
‘Exactly.  What drew you to this block again?’
She rubbed the back of her neck once again, ‘Oh, just a itch I had to scratch.’  She reached the Lawmaster garage and strode towards her bike.  ‘Matter of interest, what was the last reported crime?’
‘One mo,’ more typing, barely audible.  ‘Ha, some juve’s cat reported missing.’
‘Missing cat?  Legal pet or illegal?’
‘Doesn’t say.’ Doesn’t matter anyway, thought Anderson, just another bad omen to go with the nagging doubts.  She gunned the Lawmaster into life, the howl of it’s engine filling the spacious garage, kicked it off it’s stand and rode up the ramp out into the grimy, wet Mega-City night.

We are not yet ready!

It was a moonless night, but it made not the slightest jot of difference in the Mega-City, it still glowed gaudily with neon and laser light.  Bars, eateries and pleasure domes stayed open all night plying the citizens with anything they craved.  And they craved just about everything going.  Even on this foul, drizzly night the city still buzzed and throbbed.  Anderson ignored it all, powering her Lawmaster down Judge’s Lanes, pedways, fly-overs.   No one much out tonight though; the rain was at best filthy, at worse highly radioactive.  It tended to put one off a midnight perambulation.  She strained her eyes through the rain and the spray, keeping half an eye on the nav-comp.  Kilmister block was not as far away as she had thought; she was somehow expecting it to be tucked away in some (relatively) quiet backwater sector, whereas in fact it lay almost directly in the centre of the city. 
As the city’s garish attractions flashed past her in a hazy cloud of spray, the itch began to change.  The throb grew tendrils and began to spread across the back of her skull; she had a full-blown headache coming on. 
 ‘Just what I need,’ she cursed to herself, ‘can this night get any more wretched?’  The nav-comp flashed her to pull off the Boomway, she leant the motorbike over and eased onto the offramp, and lo, her night got worse.  This Skedway had all its lights out; traffic seemed to be giving it a miss too.  She considered calling city-maintenance and giving them a piece of her mind, but they were probably all tucked up in their sweet little bunks.  She flicked her headlights onto full and ploughed on. 
Suddenly a dark figure lurched out of the gloom towards her.  Spitting oaths she felt herself start to lose the back wheel of the Lawmaster, scumy, oil saturated spray cascading in plumes all around her. She gunned the engine and the wheel squealed in protest on the nu-asphalt surface but somehow just managing to find some grip.  The bike levelled and she brought it to a juddering halt, killed the engine and dismounted into a firing crouch - Lawgiver already in her hand.   She glared back through the sleet to see her would be assailant.  But all she saw was a prone figure writhing in the puddles, a bottle of something, no doubt highly dodgy, in a faker-paper bag.  It was wailing something barely understandable, ‘They’re back, they’re back.’  Just some drunk stumbling around in the gloom, probably a futsie who just can’t bear it all sober any more.
‘Drokking frightened the life out of me,’ she growled to herself.  The relentless rain and now hammering headache were beginning to really get on her pectorals.  ‘I’ve really not got the mind space for this right now.’  She re-holstered her pistol and slung a drenched leg back over the bike seat.  She hit the start button and the engine fired and then spluttered rudely into silence.
‘What now, for grud’s sake!’ she tried to fire it up again, but this time nothing.  Warning lights lit up all over the rain-splattered dash.   ‘Exactly what I needed,’ she muttered with exasperation as she dismounted, turning back to the drunk who was by now delicately trying to regain his feet.
‘This is all your fault,’ she spat at him, as he continued his unsteady progress back to his feet. 
‘They’re back,’ he gurgled without making a lot of sense.
‘Scarper creep!’ she retorted and then turned and began to stomp along the Skedway towards the block, now just about visible in the gloom a couple of klicks away.  ‘Guess I’m walking then.  Control can you hear me?’ nothing but static from her helmet.  ‘Control?!’  Again nothing.  ‘Oh just perfect, a little bit of rain and everything goes to pieces, you wouldn’t think this was the 22nd Century’.  She realised that complaining was not really going to get her anywhere in hurry so she wiped her visor and began the soggy trek to Kilmister block.

Not yet! Not yet! We need more time!

Anderson walked on towards the brooding block, her boots splashing through the streams of water cascading off the pedway.  Not far out she stopped, realising the block looked exactly as it had in the PSU feed.  Precisely the same lights still on, but not a soul visible anywhere.  Deserted, yet trying to look like it was occupied, trying to draw no attention to itself.  She glanced up the nearest (non-functioning) lighting pole half expecting to see the PSU’s cam right above her the view was so familiar.  There was no cam, but there was something tied to the pole flapping in the hammering rain.  Out of curiosity she reached up a hand and turned it to get a better look.   It seemed to be a little figure of a man made of plastic sticks and tie-wraps, hanging like some sort of amulet on the post.
‘What evil spirits are you here to ward off exactly?’ she mused and even as she did a shiver went down her spine.  Just the cold, she thought, nothing more.  Time to get out of the rain.  She released the figure and strode on.

Finally Ian Kilmister block loomed up in front of her, nearly half a klick high and glistening in the wet.  She drew her Lawgiver again and did a quick 360 as she walked out onto the broadway that surrounded the tower, straining her eyes to see out into the gloom.  With a sickening sense of realisation it struck her then, that there was no light for two klicks in all directions around her.  Beyond that the city glowed malevolently, utterly oblivious to this brooding black hole in its very heart.  She felt very alone, just her and whoever was in the sinister edifice before her.  Moving more swiftly now, holding her pistol in the ready position, she approached the main glass doors to the lobby.  They slid open obligingly and she stepped into a large lobby and finally out of the rain.
‘Control, you back with me yet?’ she enquired of her helmet mic, more in hope than expectation and sure enough no answer came.  ‘Suit yourself.’  She slid the helmet off and propped it on the concierge desk, still lit up with glowing comp-screens.  She shook her head, partly to shake the rain out of her unruly cascade of blonde hair and partly to try to shake out the fog in her mind.  But the headache had her in its clutches, grinding now like a migraine on mega-steroids.
‘What are you hiding?’ she called out, moving forward cautiously across the cheap nu-nylon carpeted floor towards the bank of elevators.  The question had been intended for the building, but uttering it she suddenly felt as if a veil had been lifted from her eyes.  The itch, the throb, the drokking mother of all headaches, it wasn’t trying to tell her something; it was trying to hide something.  Someone, or something was in her mind, blocking her memories, preventing her from realising what was right in front of her.
‘So I know you!’ she muttered semi-triumphantly, as a lift door slid open in front of her.  ‘Well I’m coming ready or not.’ She stepped into the lift and hit the only floor number that made any sense – thirteen.

Not ready!  But come anyway Anderssson.

The lift slid smoothly to a halt and Anderson stepped out onto more tacky plastic carpet on the long 13th floor of Kilmister block. The corridors were lit in eerie low light ahead and to both left and right, but starkly empty.  Nothing moved, her footsteps echoed damply on the floor - she was still dripping wet. 
‘Where are you then?’ she stepped forward, wondering which way to go next.  A movement dead ahead, she crouched and aimed, her finger trembling on the Lawgiver trigger.  A few metres away from her, walking as calmly as you like across the floor was a black cat.  She froze as the cat stopped midway and turned its head towards her.  Its eyes were dark and hollow: there were no eyeballs in the sockets.  It hissed at her viciously and as it did a foul stench of decay filled her nostrils and with alarm she realised that the headache had now shifted to a numbing pain down her back and into her arms, she was barely able to move.
A door creaked open next to the cat with an ominous grinding noise and the animal turned and darted into the apartment, in its place a long dark shadow stretched across the corridor as a figure moved towards the door.
‘Andersssson!’  The stench of rotting flesh was overpowering now, she couldn’t understand why she’d not noticed before.  But the headache was gone and her mind began to clear even as her body refused to move.  The wraith moved out of the door into the corridor, the black helmet with it’s dull metal grille, the sickly, bloody teeth, the decaying flesh: putrid and vile.
‘Have you missssed me, Anderssson?’ it hissed and the sound of its voice rattled down her spine.  Behind in the doorway she could make out more shapes following.
‘Judge Death!’ she had to force the words out, as she was unable to move without considerable effort.  Behind her the lift began to work again, more ghouls coming no doubt – surrounded.
‘You came too sssoon, our plansss are not yet ready!’ Howled the apparition gliding towards her as behind it a couple of decaying bodies stumbled blindly into the corridor.
‘My brothersss and sssissters have not yet been able to join me,’ his voice hammered inside her head like shrapnel grenade exploding.  ‘No matter, Anderssson, your body will be a ssuitable receptacle for one of them.’  He floated closer his hideous, clawed hand reaching out towards her heart. 
‘Drokk it all, I knew I should have just stayed in bed and taken a synthi-aspirin,’ she spat, mostly to herself.  She braced her inert body as best she could, all the awful memories of her first possession by the foul beast flooding back.
Without warning the doors of the lift slid open behind her and a hail of white-hot incendiary bullets flashed past her head and tore through the decaying body of the dark judge.  Flames ignited in its clothing and sparks showered in all directions as shells hit the corridor walls and detonated.  Without ceremony a rough hand grabbed her collar and hauled her backwards into the elevator capsule, dumping her on the floor.  Gazing up she found herself looking at a Lawgiver rapid-firing into the corridor, flame spitting from it’s muzzle, hot metal shell cases clattering down onto her and the floor.  She followed the firing arm back as another ungodly howl came from were the bullets were aimed: the crumpled blue uniform, the dented judge badge, the grizzled face and, well, that chin.
‘Judge Dredd,’ she burbled, finding that movement was slowly coming back to her body.  He ignored her and fired another burst whilst the elevator doors slid shut barely preventing a great fireball engulfing them.  At this moment the lift pinged and started moving downwards in an almost comical fashion given the bloody mayhem they had just witness.  ‘What brings you out this way?’
Judge Dredd shrugged, his Lawgiver still held ready, smoke wisping out from the barrel.
‘Just a hunch, y’know.  An itch I had to scratch,’ he growled checking her over quickly for injuries.  ‘How’s your night going?’  With that the whole lift shook violently and a great scream reverberated menacingly all around them;
‘ANDERSSSSON!!’
The lift light shattered and darkness engulfed them, but just as it did the doors hissed open and Dredd hauled her out into the light of lobby and onto her feet, dragging her towards his Lawmaster still revving in the middle of the lobby where he had abandoned it.
‘Oh, I’ve had better.’ 
They mounted Dredd’s Lawmaster and with a great arc of burnt rubber and smoke he swung it around and gunned it full-throttle at the plate glass doors, smashing straight through them and skidding barely in control into the teeming, ice-cold mega-city rain.
‘Control we have a major on-going incident, Ian Kilmister Block, all available units attend!’
‘What is the nature of the incident Dredd?’ replied the nonplussed controller as Dredd accelerated up onto the saturated Pedway through sheets of filthy standing water.
‘They’re back Control,’ he hissed.  ‘They’re back.’

Friday, January 04, 2019

Doctor What?

I realise I may be straying into controversial territory here, but I’ve been wondering recently about how much writer’s should be influenced by the consumers of their stories.  Let’s call them fans.  The reason for this musing has been the recent changes to characters in popular culture, for example Dr Who changing sex, Hermione Granger changing skin colour and, perhaps closer to my own heart, a myriad of revisions to the Star Wars universe caused by removing the creator from the creative process.  Not to mention various reboots, restylings and general appropriation of other loved stories and characters (I could mention Battlestar Galactica, Sherlock Holmes, Poirot but the list is considerable).

There have been howls of protest about all these things, but as both a fan and an author I can see it from both sides.  Certainly complaints that switching a alien character with two hearts that can regenerate at will from male to female is emasculating seems very wide of the mark.  After all there have been twelve white male doctors and one white female doctor so far, so even some sort of basic equality seems a lifetime away.  Other arguments that this is not really part of what is possible in this (entirely fictional) universe also don't work for me.  After all in the case of Dr Who there is certainly a precedent in the changing of the Master to Missy in 2014 (and presumably lots of other years throughout the whole of history), which I don't remember sparking so much rage, although I'm not really a huge Dr Who fan so perhaps I missed it.

The Hermione Granger (non) issue is even less of a worry to me, after all, as J K Rowling correctly pointed out, she never specified skin colour in the books and people do tend to project their own ideas on to things.  I often wonder whether people imagine all the characters in my own stories to be white, when I also don't specify this.  If I was ever lucky enough to have my books converted into some visual medium, I would be happy for actors of any origin to play any of the roles.  It matters not to me, but rather I would be more interested in the characteristics of how they were played rather than simply how they look.

And I suppose this is the answer to my musing, which is how good is the creative product, rather then the choices about ethnicity, height, weight, facial hair, gender etc... So is the new Dr Who any good?  There are arguments either way on this, but I have to admit I've watched every episode and, although perhaps I don't think it's hit the heights of some previous iterations (I actually really liked Paul McGann's interpretation, anything with K-9 and the original Dalek films) but I think I enjoyed them.  So even though the jury is still out it's a tentative thumbs up from me.  But then maybe I'm weird, I also liked John Malkovich's take on Poirot and the Battlestar Galactica re-boot.

Bottom line for me is that really it's the creator, writer or author's prerogative to do what they like with their characters and stories.  As much as fans may feel they know the fictional world that's been created, they all have their own ideas (and therefor prejudices). Everyone's synapses fire in different ways and only the writer's synapses can be right.  For better or worse.

In the meantime I would suggest that we all remember fiction is made-up, and just try and enjoy the ride.  If something isn't for you, then there is plenty of other stuff out there to enjoy.  Or you could write you own.  Did I mention that I have some stories you could try?  Go on, have a listen, and tell me how I should have done it.

Wednesday, October 24, 2018

A Tale Of Four Ala(i)ns

It’s funny how the same name seems to crop up time and again in relation to my musical influences. Well, maybe not funny, but certainly makes for an interesting Blog thread, so here it is, a tale of four… Ala(i)ns.

I remember hearing Violator for the first time sitting on the floor at our old bass player’s house. Steve Gent was always one for the very latest music, and in this ca se he had been the first of our gang to acquire Depeche Mode’s latest offering. I remember that first listening as much for the fact that the vinyl copy he had (the second copy as he’d already exchanged it twice) was scratched and used to skip infuriatingly. Vinyl was in demise at that time, and this was the catalyst for buying this album on CD, and presumably buying a CD player to go along with it. However, the music was quite extraordinary. Not since Nik Kershaw’s dramatic intro to Dancing Girls had I been so in love with a drum sound. Ever since World In Your Eyes hit my ears I have been in love with snare drums that go “pffft” instead of “therwap” or “crack”.

This led me to explore Depeche Mode’s back catalogue and discover the harder sound they’d developed since Vince Clarke has quit in 1981. That new sound was partly due to grittier songwriting of Martin Gore, but perhaps even more due to the craft and technique of Vince’s replacement – Alan Wilder. Although not immediately accepted as a core member of the band (he was asked to skip the recording of their next album – A Broken Frame) – he became an essential part of the mix for their most influential period. The albums that they produced – Construction Time Again, Black Celebration, Music For The Masses, Violator and Songs Of Faith And Devotion – all rate amongst my favourite long players. As well as keyboards, Wilder contributed Drums and endless time in the studio alongside Flood and other producers to turn a pop act into one of the greatest electro-rock bands in the world.

For my money they peaked with the combination of the film / live album “101” (Wilder’s choice of title apparently)  and the aforementioned Violator. Perhaps he thought so too, as in 1995 Wilder quit the band claiming that his influence and effort had never been properly recognised. I have to agree, most people have never heard of him, but they will know many of the tunes he helped to shape.

As an interesting footnote, Wilder sold off much of memorabilia and even some keyboards used with Depeche Mode in 2011 and the videos created for the auction make for absorbing watching.

The second Ala(i)n goes by the, not uncommon, name of Alain Whyte. He’s a guitarist and songwriter and was a local Burnt Oak boy (his mum knew the mum of a guy I was in a band with). But you probably haven’t heard of him. You almost certainly have heard of some of the songs he’s written and performed on. If I say that he co-wrote Glamorous Glue, Dagenham Dave, You’re The One For Me Fatty, Don’t Make Fun Of Daddy’s Voice then some of you might know who he worked with. However if I mention that he co-wrote Irish Blood, English Heart and First of the Gang to Die then I expect that many more of you will know these songs and who he played guitar for.

Yes, indeedy, alongside his conspirator – Boz Boorer – Alain Whyte wrote the music for many of Morrissey’s biggest tunes (not just him though, he has also written for Madonna, Chris Brown, Rihanna and The Black Eyed Peas).

Whatever you may think of Morrissey’s dodgy politics, you can’t fail to appreciate the sheer scale and excellent writing of many of his big hits. Well, funnily enough, he didn’t actually write them all himself. It was probably the song “You’re The One For Me Fatty” that first made he appreciate his work. Sure the lyric is provocative, but the tune is catchy, circular and well crafted. I was hooked.

I got hold of some live DVDs and was even more blown away. With a succession of beautiful Gibson and Gretsch semi-acoustic guitars Whyte and Boorer brought a sweaty, muscular rockabilly sound to Morrissey’s thoughtful, spiteful and left-field lyrics. It absolutely worked for me. Where I found The Smiths too introspective and clever, this was rock-and-roll at it’s best for me. Great tunes, big guitars and thought-provoking lyrics.

In the end though, like with the previous Alan, it all got a bit too much and a nervous breakdown led him to leave the band in 2007, perhaps Morrissey finally got to him, as he seems to be getting to us all these days.

Now I must confess that I’d never heard of my third Alan, when he was first mentioned to me by my good friend Tudor Davies. But it turned out that he needed a guitarist, and I was rather in need of a new band. And so it turned out that I got to meet the New-Prog-Legend that is Alan Reed, in his own house, playing his own songs (badly to start with). Although I could never hope to emulate the guitar lines of Niall Mathewson from his (most popular band) – Pallas (not the only band he's been in by the way) – it turned out that wasn’t what he was really after. Indeed Alan’s own guitar lines, especially in his excellent album – Honey On A Razor’s Edge – were not a million miles away from my own. Check out the riff on Razor and compare to my own on Snatch. You can, at least, see why Tudor thought that I might be suitable and, after appointing the amazing Mark Spencer as fall-back guitarist, I was in.

What an experience it has been (so far) – with the aforementioned Tudor on keyboards, Mark on electric guitar, Jennifer Ellen Clark on bass and the incredibly in demand Henry Rogers on bass we were off and running. Gigs in Stoke, Southampton, Glasgow and London followed, plus festival appearances at HRH Prog and Summer’s End in Wales and foreign trips to Pagney (France) and Boerderij Cultuurplatform (Netherlands). It’s been a total riot. Somewhere along the way we even managed to produce a live CD (Live From The Razor’s Edge) and there are rumours of a live DVD. Somehow I’ve even managed to lend my guitar tones to a solo record by Jennifer and crowd-type singing to a Twelfth Night release (coming soon). We now have a reputation for good music, energy and the sheer enjoyment of knowing that we are STILL IN A BAND!

Come and see us play next year.

Oh, so who is the final Alan in my series? Well my dad, of course - Alan Callow. The man who bought me my first guitar (birthday present I think, since my first keyboard was for passing my O Levels and I did terribly at A Level and so generic a Strat copy that it had nothing at all written on the headstock) – that played one gig (see picture, the song is Wrapped Around Your Finger by The Police - easy number to start with, not) and then was promptly part exchanged for something better. He also tolerated our practices (as did our mum) and lent me his estate car to drive to endless gigs. Thanks dad, without your assistance and love not much of this would be possible.

Sunday, October 14, 2018

Teleman - Family Of Aliens - Fragile electro-pop with a hint of vaudeville

I was invited to see Teleman first by a friend (stand up James King) who was always on the look out for fun things to do in Brighton. The first time I saw them was at the Old Market in central Hove and I was surprised by how much I liked them. Their music is a very light-weight form of pop that is so fragile in its construction that you almost think it might break at any moment. In fact, during my friend’s favourite tune – Christina – it actually does stop, and you are momentarily wondering if it will start again. Having said that, each tune was beautiful, melodic and just a bit different, which left me wanting more.

 My personal favourite at that point was a euro-friendly number called Düsseldorf, featuring genuine German translation at one point. Its more robust sound and indeed the generally more beefed up nature of their second album hinted at more electro-rock-esque possibilities for the future, in their third album – Family Of Aliens – this duly arrived.

Family Of Aliens is, not unnaturally, how the band see themselves, and perhaps having realised that's who they are, they certainly sound more confident and at home with their sound on this record. The keyboards and electro-pop component is ramped up, and often builds up into joyous extended instrumental sections (Submarine Life, Cactus) that verge on the edges of modern dance music. This is a record crying out for extended 12” remixes if that is still a thing.

At points they are so electro-pop on this disk that you could almost imagine this was how the Pet Shop Boys would sound if one of them played electric guitar. Song For A Seagull falls into this category, a tune that invokes the loneliness of a sea bird whilst simultaneously being up-beat and joyous. Indeed it’s when these elements are combined that Teleman are at their best. I find their music both uplifting and heart-breaking, the latter aided by singer Thomas Sanders unusually tremulous vocals. After all a band that can be both life-affirming and melancholic in the same song, pretty much has something for everyone who loves pop music.

The new found knees-up pomp hits its highest mark with the, practically Madness/Supergrass-esque duo of Twisted Heart and Between The Rain, but fret ye not, the fragility is still there too. Always Dreaming starts with a slow monophonic piano refrain and the next instrument to join sounds like an acoustic bass, it’s the perfect tune to accompany a wallow in misery, should you be so inclined.

Overall then, I have to say it’s a beautiful thing. Certainly their most confident, balanced and exciting record to date. Nothing stands out and that’s very much in it’s favour, it’s all excellent and a pleasure to listen to from end to end. In fact, I may even be inclined to get a vinyl copy, if they exist, as sonically it’s so varied that it would be a good match to the musicality of needle, amplifier and speaker.

I was once told that in the perfect photograph the darkest area will be 100% black and the lightest area pure white, that is to say the unexposed, pure white of the photographic paper – and I’ve always thought that a similar analogy should apply to music, that is to say that the loudest part of any record (or live set) should be the loudest noise you can manage, and the quietest bit should be silence. With this record, I think Teleman have cracked it. It’s the perfect picture, onto which you can project the best and worst moments of your life and revel in them both. It will be played on repeat in a thousand teenage bedrooms and, although mainstream radio might not pick it up, it is surely a pop classic that will simply grow in stature over time.

Personally, I love it, and I’m already excited to see what they conjure up next.

P.S.  There is no such thing as a seagull

Wednesday, October 03, 2018

We Are Traffic

Some trees, no cars.
We are traffic.

Have you ever stopped for a few moments to consider how the world around you would look if there were no cars? Try it now (well, not now, but in a few minutes after you have read this) – step out into your road and imagine that all the cars were gone. Perhaps you could let your imagination run riot and imagine each car replaced with a tree. Splashes of green where now there is garish metal, plastic, rubber and rust. Imagine a street were you can walk to the shops, or the bus down a pathway between shrubs, birds singing, children cycling and playing. It would be nice wouldn’t it?

But that’s not what we have. Instead we have more and more cars and a whole industry geared up to convincing us that we all need to own one, and drive it pointlessly around and around, because that’s cool, isn’t it? We need connectivity to our phones and wi-fi on tap, even though vehicles kill roughly 1,700 people every year in the UK (that's 1.25 million worldwide, equalling the total deaths from the First World War roughly every 15 years) and mobile phone usage in cars, vans and lorries is a big contributor to that.

Also, dunno if you’ve noticed this, but there is a lot of column inches (is that still a thing) being devoted to air pollution these days. Where does this blight on our, our children and old folks lives come from?

We are pollution.

And while we are thinking about it. When was the last time that driving a car was actually fun? Personally it was a long time ago, when I was young and foolish. The world feels different now, and even with all their much publicised problems, the train feels like much more pleasant option these days. You can read a book (is that still a thing) and go on Instagram without endangering everyone around you.

So what can be done? It seems to me that people are not keen to change their behaviour if it feels inconvenient to them in any way. Even though walking, cycling or taking public transport are either good for you, or good for the world, if you can just jump in your car to drive round the block, why would you give that up? Look at the plastic bag situation. For many years we’ve known that single use plastic bags were a blight on our world. Blowing around the countryside, strangling life and shredding into a billion invisible pieces that we now ingest with almost every mouthful. But did anyone change their behaviour until a tax was put on them? Well some did. In fact, I still mourn the fact that you used to get Tesco Clubcard points (other supermarket point based schemes are available) for every bag you re-used. Gone is the carrot, all hail the stick. And lo and behold bag usage is down to, oh you know just the odd 1.04 billion per year (it was 7.6 billion in 2014, but f**k me that still seems a lot). So I’m thinking that we need government to act if we are to have any chance with reducing pointless car journeys.

Here’s some thoughts then, let me know if you think any of these might tempt you out of your car and onto your feet.
  1. Increased Council Charge for any households with more than one car registered to the household
  2. Decreased Council Charge for any households with no cars registered there
  3. Raise the age you can start driving to 18
  4. Give free bicycles to 16 year olds
  5. Hell, give a free bicycle to everyone who wants one, they are a couple of hundred quid each. Anyone know how much one car costs us in road repairs, infrastructure, pollution and hospital bills per year? 
  6. Free bus passes to anyone who doesn’t own a car
  7. Mandatory buy-back scheme for the worst polluters, turning the scrap metal into, well bicycles seems an obvious fit
  8. Increase fuel duty
  9. Re-introduce road tax charging it by the mile
  10. Ban car adverts that show people driving pointlessly around and around unrealistically empty streets, or over the countryside (just see how many of these you notice now)
  11. Hell, ban all car adverts
I could go on. I probably will. But even if all that seems unpalatable to you, at least remember one thing. This isn’t someone else’s problem. If you own a car (and I do, although I seldom use it these days), then this is your problem and one day our kids will ask us what we did about it.

We are traffic.

Friday, October 06, 2017

Steampunk Podcast - ARC Light Programme

Since writing stories, performing with prog rock bands and doing my day job are clearly not enough, I have begun serialising my stories into a podcast series.  Based around a fictional presenter (Theodore Pilkington-Rhubarb) and his hapless assistant (Mabel - surname not yet revealed), the podcast takes the form of an old-fashioned radio show in the style of the Goon Show or I'm Sorry I Haven't A Clue.  Each week I read part of my book (either a whole story or half of one, concluding the following week) plus new material that I write.  At the moment this is a collection of Listener's Letters, but soon I'm going to branch out into other silly ideas.

It's also a great showcase for the steampunk music of Charlotte Savigar - it works so well in this context and it's well worth getting the album if you like what you hear.  It's all good clean fun and suitable for listeners of any age.  If you love a bit of comedy / storytelling and enjoy a good podcast or audio book, then it's well worth checking out.

You can subscribe via iTunes or Overcast or just visit Soundcloud to hear the episodes.  It's on Stitcher too and TuneIn, but I don't know the links (okay I found the links, so you can click any of them now).  You can find it by searching for "Tales of New Albion".  Do let me know what you think!  There is a new episode coming every week.

Mind you, you can't please all the people all the time.  Have a read of this letter, I don't know, critics!




Tuesday, June 20, 2017

Interview with Charlotte Savigar

As part of the promotion for the new Tales Of New Albion steampunk electro-rock album, I managed to get hold of the talented composer - Charlotte Savigar - to ask her a few questions about the creation process:

How did you get into music composing?

After starting piano aged 7, it was obvious I had an instant love for this instrument and indeed music. I remember as a kid listening to composers such as Liszt and Chopin at my Grandad’s house and feeling incredibly moved and connected to the piano pieces I was hearing. I guess this was the catalyst that prompted me to sit down and start writing my own music.
I wrote my first solo piano composition aged 11, it was called ‘Pulse’ and I remember feeling really proud of my creation. I even performed it at a school assembly. From there I filled up manuscript book after manuscript book writing down as many ideas as I could. 


Tell us about the Tales Of New Albion project and how that came about

I spend the majority of my time writing library music and every so often I will have a quiet patch where I’m waiting for my next project to begin. With this knowledge, my husband suggested that I write a piece of music for his next story (from the Tales of New Albion) that he was due to read at an upcoming Surrey Steampunk Convivial. After doing a little research about the steampunk genre I decided to create a victoriana / scifi sounding track that is now officially the ‘Albion theme music’. We were both very happy with the composition so Daren suggested that I compose more pieces to accompany his book. Over the course of about 10 months, he gave me more and more story briefs and I pretty much had free range to choose my musical pallet and get creative!  


What is your favourite track from the album and why?

My favourite track is ‘Lost in the Great White’, I would describe this as ‘the serious track’ on the album! It took a lot of time to create this Asian sounding composition and the reason I like it so much is that it really moves me. I feel an emotional connection this piece and am very proud of the writing here.


Your previous releases were more song based, how was it working on an instrumental album?

I loved it! As much as I enjoyed and still do enjoy recording vocal music in the studio, I struggle so much with writing lyrics that on so many occasions it’s held me back. I realised towards the end of 2015 that I was losing the passion for writing songs and once I started writing library music I decided that this was where my heart felt whole and ironically I felt I could express myself more through instrumental music than through words.
With this album I had the opportunity to write for instruments I wouldn’t have ever thought of writing for in the past. In particular synths! They play a big part in the album and really create the scifi landscape I was trying to achieve. I felt throughout the whole project that I had the freedom to create whatever I wanted and as a composer that felt truly liberating!

Any plans for a follow up?

Well Daren is already writing volume 2 so hell yeah!!!

Tell us something about your self that not many people know.

Apparently I’m a bus nerd! And I love to do impersonations!


Check out Charlie's website and download Tales Of New Albion from Bandcamp.