This is the final part of my trilogy of end-of-year music posts, and is rather more traditional than the decade-concerned prequels. Here are ten songs that have come into my life or have been appreciated in a big way for the first time. Unusually, only one of these songs is a new song released this year. Very much a subjected effort, I hope you find something to enjoy on the list (YouTube links where available):
10. Map of the Problematique by Muse. Despite being a big Muse fan I came late to 'Black Holes' having initially disliked it. I've since come to appreciate it almost as much as the previous two efforts. This track in particular has grown on me and I listened to it a lot, especially during the first half of the year.
9. Find Yourself by Brad Paisley. Oh dear, not only am I getting into Scottish folk but American country music as well! Unlike much of his sensationally cheesy catalogue, 'Find Yourself' is a beautiful ballad about the wanderings of life, and is the outro music to one of my new favourite films- Cars!
8. (I'm Gonna) Cry Myself Blind by Primal Scream. Discovered the collected hits of Primal Scream in my kitchen, found this track, loved it.
7. Jiggery Pokery by Duckworth Lewis Method. An album exclusively about cricket! By a decent musician no less!! (Neil Hannon of the Divine Comedy). This track details the demise of Mike Gatting to Shane Warne's first ever ball in test cricket, back in Manchester in 1993. An iconic moment in the sport's history, and now with a song to match. Particularly commendable is the rhyming of 'buffoon' with 'contra-bassoon'.
6. Leaders of the Free World by Elbow. In the year of Elbow, it is not anything from 'The Seldom Seen Kid' that has particularly grabbed me but this track from their previous album of the same name. More grungey than they usually get and with a massive bass hook, 'Leaders...' is a huge song.
5. The Blues are Still Blue by Belle and Sebastian. This is a cheerful effort from the excellent 'The Life Pursuit' album which again was much listened to in the first half of the year.
4. Leaves and Sand by Boo Radleys. Boo Radleys have been on my radar ever since I've got into music, with 'Wake Up Boo!' a massive hit in summer 1995, and 'Find the Answer Within' being one of the first singles I bought. However it was only this year, courtesy of Spotify, that I listened to their earlier works, and discovered this monster of a track. Epic indie guitar crunches that scream of 1990s elation dominate. Do listen.
3. If I Could Name Any Name by Roddy Woomble. This gentle folk song flows with clever lyrics and heartbreakingly beautiful vocal melodies and harmonies. Although having listened regularly to it for years, it is this year when I've really started to appreciate it.
2. Syrup and Honey by Duffy. While avoiding Duffy in her original crest of popularity, I've fallen in love with 'Rockferry' this year, and especially this song. I think her voice on the slower wrenching ballads is beautiful, and in combination with Bernard Butler's signature guitar work, 'Syrup and Honey' is an irresistibly wonderful song.
1. Run to the Water by Live. I've Facebooked about this song a couple of times earlier in the year. It is a ridiculously epic rock track about the spiritual quest of mankind, drenched in Christian imagery - "Adam and Eve live down the street from me, Babylon is every town, it's as crazy as it's ever been, love's a stranger in this town..." and later on "I can see it now Lord, out beyond all the breaking of waves, and the Tribulation, it's a place of ascended souls, who swam out there in love...". The music wonderfully reflects the dualistic themes of thirst and satisfaction, captivity and freedom. There's a classic guitar solo after the Middle 8 complete with a key change back into the chorus. There is something very powerful about this song that words can't do justice, and it's a positive, uplifting power. Have a listen, and if possible properly watch the video - it only adds to the effect! A candidate for my favourite song ever.
Tuesday, 15 December 2009
Good Customer Service
Today I was pleasantly surprised by an unusual example of good customer service. I have for many years had a particular insurance service that gets renewed around this time of year, and I decided this year not to renew it as I haven't ever needed to use it. Having dialled the provider, I braced myself for a long dialogue in which the company would try and persuade me of all the wonderful benefits I'd lose if I left and why I'm such a valued customer. As it was, the entire call was completed in 90 seconds with not one hint of a question from the company about why I was leaving. I was very impressed by this approach, and it has made me much more likely to use this company in the future should I want to reactivate the policy.
So, the moral of this is, don't annoy customers even when they're leaving you!
So, the moral of this is, don't annoy customers even when they're leaving you!
Monday, 14 December 2009
Top Ten Albums of the Decade
So here it is, my favourite ten albums released in the last decade. Most are available on Spotify, and I've included a YouTube linked to my favourite song off each album (where available and not dodgy).
10. Stellastarr* Harmonies for the Haunted. Melodic and moving, 'Harmonies...' was a largely under appreciated second album from the New York post-rockers. The sound of this album is refreshingly unique, as Shawn Christansen's evocative voice combines with beautiful piano and guitar harmonies. Opener 'Lost in Time' commences with a simple piano figure that evolves into a full scale wall of sound, before receding to the haunting vocals of Christansen. Drenched in grandeur and melancholy, 'Lost in Time' is a true masterpiece. Three other tracks worthy of note: 'Sweet Troubled Soul' was the lead single from the album and is a dark love song that boasts an impossibly addictive guitar riff. 'Born in a Flea Market' is a brief blast to the senses and possibly the most musically optimistic offering on the album, despite the chorus lyrics repeatedly declaring that "no-one is safe". 'On My Own' is the epitome of the epic on this album, building to a stunning conclusion at 4:01. A couple of weaker spots, but every song has something to offer.
9. Lifehouse No Name Face. Soft rock is far from my favourite genre. Indeed it usually bores or annoys me. However, in 'No Name Face' American band Lifehouse produced the finest post-grunge/soft rock album there is. The emotion is natural and just manages to stay on the safe side of cheesy. Opener 'Hanging by a Moment' is widely known and loved, and there are gems throughout: 'Sick Cycle Carousel' grapples with addiction, 'Simon' is a moving treatise on bullying and abuse, 'Breathing' is a classic love song, 'Everything' declares wonderful satisfaction in the love of God and 'Fool' rounds thing off in a befittingly emotional and melodic manner. An album that has dug me out of the deepest hole I've ever been in.
8. Sigur Ros () An entire album without a name, with all tracks untitled and sung in a made up language doesn't appear an auspicious prospect, but the beautiful soundscape created here by Icelandic post-rockers Sigur Ros make () one of the most original creations of the decade. Untitled 1 and 3 develop simple piano figures into 6 minute gems while Untitled 6 moves through its distinctive harmonic progression to wonderful effect. The generally restrained and tranquil temperament finally gives way half-way through the frenetic closer Untitled 8, which will leave even the calmest of folk on nervous edge!
7. Roddy Woomble My Secret is my Silence. I never thought folk music was my thing. Then I discovered this solo album from Idlewild's singer Roddy Woomble. The tender melodies and unobtrusive accompaniment tell tales of Woomble's native Scotland, and with the exception of 'Whiskyface' never descend to the twee celtic campness that puts me off much folk music. Standout tracks are opener 'I came in from the mountains', 'If I could name any name' (both of which feature sublime female vocal harmonies) and the more rocky 'Waverley Steps'.
6. Bloc Party A Weekend in the City. Lots of people think Bloc Party's second album failed to live up to the promise of debut 'Silent Alarm'. They are wrong. Very wrong. AWITC exceeds Silent Alarm in all regards - better songs, better lyrics and boasting a coherence as a whole entity. The first two tracks - 'Song for Clay' and 'Hunting for Witches' - weave a tortured path through the mind of a disaffected C21st Londoner, thoroughly sick with the political and social settlement yet inextricably caught up in it. The despair lifts a little in the middle-8 of 'Waiting for the 7:18' where singer Kele Okerere suggests 'let's go to Brighton for the weekend' as a solution to all the problems of the world. 'The Prayer' is a strange meditation on fame while 'Uniform' decries the emptiness of the cool Indie scene. The thus far break-neck pace of the album slows through the second half, yet treasures a-plenty remain, most notably 'I Still Remember'. Like many of my favourite love songs, it is exuding in joy yet not without a twist of nostalgia. A fine overall effort and a shot across the bow of all ships proclaiming the death of the long-player album as an art form.
5. The Killers Sam's Town. Where 'Weekend in the City' was a tour through the confused world of C21st London urban culture, 'Sam's Town' is a memorabilia tour through the heart of small-town America. We meet various faded dreams and seedy characters on the way, on what is possibly the best crafted album amongst my top ten. No punches are pulled in opener 'Sam's Town' with brash synth chords leading to a hurried diatribe verse, with a chorus full of power and melody. A half-speed sing-a-long middle 8 complete the effort. Following this is an unusual but effective 'interlude' (that should more properly be entitled 'prelude'), then big hit 'When we Were Young'. The next three tracks continue in this ilk of melancholy rock, and although the album is fairly generic to itself it does not suffer as a result. 'Uncle Johnny' is a resolution of sorts to the first half of the album, with a prominent bass hook and generally headache inducing production that resolves to a full rock sound at the end of each chorus. Following is 'Bones', my least favourite track on the album, then three more top quality songs before the 'exitlude'. Definitely a 'grower', as one needs to let the album take one into its own world before it can be properly appreciated.
4. Editors An End Has a Start. Once again the alternative music intelligentsia decreed a second album inferior to the debut. Once again they were wrong. Very very wrong. The Editors share many things in common with Bloc Party - largely melancholic but with huge bright spots of hope, a mash up of post-rock and indie-pop influences and self styled 'prophets' of the age. However, 'An End Has a Start' is very much removed from the London milieu of 'A Weekend in the City' and while evoking a generic urban landscape is actually focused more on the soul than a culture. 'Smokers Outside the Hospital Doors' sets the (very high) standard from the off and is the band's signature track. Track three hails the second monumental number - 'The Weight of the World' - that tells of all life having meaning and the voice of God bringing a love that replaces fear. Powerful stuff from a non-Christian band! In the middle of the album is the energetic anthem 'The Racing Rats' and beautiful slower number 'Push Your Head Towards the Air'. Closer 'Well-Worn Hand' ends things on a mournful yet touching note. Again gets top marks for being a seamless and complete entity.
3. British Sea Power The Decline Of British Sea Power. British Sea Power have created three excellent albums, and it is only by a shade that their debut eclipses 'Open Season' and 'Do You Like Rock Music?'. With a devoted following, perhaps the deepest appeal of BSP is their ability to marry their songs with landscapes in a most profound manner. While a theme of certain eras of classical music, it is a feat rarely achieved in the world of alt-rock/indie. Other interesting sources of lyrical inspiration contribute to their originality, with hundreds of references scattered across their catalogue including the Trojan war, Eastern European migration and Dostoevsky. On this album standouts are: 'Fear of Drowning' - a powerful story about something or other involving swimming from 'my favourite island shores'; 'The Lonely' - the lyrical highpoint of the album summoning men to bravery via electric pianos; 'Carrion' - an epic song about the sea, with a near Edenic eulogy to these isles; 'Blackout' - a beautiful dirge taking in bird watching on the moors to the wasted life of the beer drinker; and 'Lately' - a fourteen minute epic about various indecpiherable and unconnected topics that somehow makes sense (although it could happily lose the last two minutes of guitar feedback without suffering). A note to anyone listening to this album for the first time- don't be put off by the slightly weird opening three tracks! The pearls begin at track four...
2. Idlewild The Remote Part. Idlewild have a fairly unique sounds, combining elements of grunge with indie and folk influences, the closest references being Pearl Jam or R.E.M. The Remote Part is at least their second best album ('100 Broken Windows', the possible eclipser, was released in the 90s) and every track on this album has something special to it. Particularly of note are anthemic opener 'You Held the World in Your Arms', rocker 'I am what I am not' and philosophical rambler 'Stay the Same'. Quality, quality album.
1. Sigur Ros Takk... Sigur Ros are the only band to get two albums on this list. The restraint of () departs on 'Takk...', as full-blooded post-rock eruptions are the norm alongside a great ambition in melody. If the overly long and pretentious 'Se Lest' was taken out of the middle then this would be as close to a flawless album as one could find this side of Heaven. But enough of the negativity... 'Takk/Glossoli' is possibly my favourite song ever and got me hooked on Sigur Ros. Words can't do it justice. Listen to it! Following is 'Hoppipola''s iconic riff, the short refrain of 'Meo Bleosnair' and the aforementioned 'Se Lest'. From thereon in Sigur Ros take you on a wonderful journey through the power-piano chords of 'Saeglopur', the building majesty of 'Milano', the mysterious and disturbed 'Gong', the beautiful 'Andvari', the bombastic and summarising 'Svo Hjoltt' before ending with the tranquility of 'Heysatan' (translation = 'hay making'). No album I know evokes the landscape of its creation so markedly, and towers above all other albums as the musical high point of this decade.
10. Stellastarr* Harmonies for the Haunted. Melodic and moving, 'Harmonies...' was a largely under appreciated second album from the New York post-rockers. The sound of this album is refreshingly unique, as Shawn Christansen's evocative voice combines with beautiful piano and guitar harmonies. Opener 'Lost in Time' commences with a simple piano figure that evolves into a full scale wall of sound, before receding to the haunting vocals of Christansen. Drenched in grandeur and melancholy, 'Lost in Time' is a true masterpiece. Three other tracks worthy of note: 'Sweet Troubled Soul' was the lead single from the album and is a dark love song that boasts an impossibly addictive guitar riff. 'Born in a Flea Market' is a brief blast to the senses and possibly the most musically optimistic offering on the album, despite the chorus lyrics repeatedly declaring that "no-one is safe". 'On My Own' is the epitome of the epic on this album, building to a stunning conclusion at 4:01. A couple of weaker spots, but every song has something to offer.
9. Lifehouse No Name Face. Soft rock is far from my favourite genre. Indeed it usually bores or annoys me. However, in 'No Name Face' American band Lifehouse produced the finest post-grunge/soft rock album there is. The emotion is natural and just manages to stay on the safe side of cheesy. Opener 'Hanging by a Moment' is widely known and loved, and there are gems throughout: 'Sick Cycle Carousel' grapples with addiction, 'Simon' is a moving treatise on bullying and abuse, 'Breathing' is a classic love song, 'Everything' declares wonderful satisfaction in the love of God and 'Fool' rounds thing off in a befittingly emotional and melodic manner. An album that has dug me out of the deepest hole I've ever been in.
8. Sigur Ros () An entire album without a name, with all tracks untitled and sung in a made up language doesn't appear an auspicious prospect, but the beautiful soundscape created here by Icelandic post-rockers Sigur Ros make () one of the most original creations of the decade. Untitled 1 and 3 develop simple piano figures into 6 minute gems while Untitled 6 moves through its distinctive harmonic progression to wonderful effect. The generally restrained and tranquil temperament finally gives way half-way through the frenetic closer Untitled 8, which will leave even the calmest of folk on nervous edge!
7. Roddy Woomble My Secret is my Silence. I never thought folk music was my thing. Then I discovered this solo album from Idlewild's singer Roddy Woomble. The tender melodies and unobtrusive accompaniment tell tales of Woomble's native Scotland, and with the exception of 'Whiskyface' never descend to the twee celtic campness that puts me off much folk music. Standout tracks are opener 'I came in from the mountains', 'If I could name any name' (both of which feature sublime female vocal harmonies) and the more rocky 'Waverley Steps'.
6. Bloc Party A Weekend in the City. Lots of people think Bloc Party's second album failed to live up to the promise of debut 'Silent Alarm'. They are wrong. Very wrong. AWITC exceeds Silent Alarm in all regards - better songs, better lyrics and boasting a coherence as a whole entity. The first two tracks - 'Song for Clay' and 'Hunting for Witches' - weave a tortured path through the mind of a disaffected C21st Londoner, thoroughly sick with the political and social settlement yet inextricably caught up in it. The despair lifts a little in the middle-8 of 'Waiting for the 7:18' where singer Kele Okerere suggests 'let's go to Brighton for the weekend' as a solution to all the problems of the world. 'The Prayer' is a strange meditation on fame while 'Uniform' decries the emptiness of the cool Indie scene. The thus far break-neck pace of the album slows through the second half, yet treasures a-plenty remain, most notably 'I Still Remember'. Like many of my favourite love songs, it is exuding in joy yet not without a twist of nostalgia. A fine overall effort and a shot across the bow of all ships proclaiming the death of the long-player album as an art form.
5. The Killers Sam's Town. Where 'Weekend in the City' was a tour through the confused world of C21st London urban culture, 'Sam's Town' is a memorabilia tour through the heart of small-town America. We meet various faded dreams and seedy characters on the way, on what is possibly the best crafted album amongst my top ten. No punches are pulled in opener 'Sam's Town' with brash synth chords leading to a hurried diatribe verse, with a chorus full of power and melody. A half-speed sing-a-long middle 8 complete the effort. Following this is an unusual but effective 'interlude' (that should more properly be entitled 'prelude'), then big hit 'When we Were Young'. The next three tracks continue in this ilk of melancholy rock, and although the album is fairly generic to itself it does not suffer as a result. 'Uncle Johnny' is a resolution of sorts to the first half of the album, with a prominent bass hook and generally headache inducing production that resolves to a full rock sound at the end of each chorus. Following is 'Bones', my least favourite track on the album, then three more top quality songs before the 'exitlude'. Definitely a 'grower', as one needs to let the album take one into its own world before it can be properly appreciated.
4. Editors An End Has a Start. Once again the alternative music intelligentsia decreed a second album inferior to the debut. Once again they were wrong. Very very wrong. The Editors share many things in common with Bloc Party - largely melancholic but with huge bright spots of hope, a mash up of post-rock and indie-pop influences and self styled 'prophets' of the age. However, 'An End Has a Start' is very much removed from the London milieu of 'A Weekend in the City' and while evoking a generic urban landscape is actually focused more on the soul than a culture. 'Smokers Outside the Hospital Doors' sets the (very high) standard from the off and is the band's signature track. Track three hails the second monumental number - 'The Weight of the World' - that tells of all life having meaning and the voice of God bringing a love that replaces fear. Powerful stuff from a non-Christian band! In the middle of the album is the energetic anthem 'The Racing Rats' and beautiful slower number 'Push Your Head Towards the Air'. Closer 'Well-Worn Hand' ends things on a mournful yet touching note. Again gets top marks for being a seamless and complete entity.
3. British Sea Power The Decline Of British Sea Power. British Sea Power have created three excellent albums, and it is only by a shade that their debut eclipses 'Open Season' and 'Do You Like Rock Music?'. With a devoted following, perhaps the deepest appeal of BSP is their ability to marry their songs with landscapes in a most profound manner. While a theme of certain eras of classical music, it is a feat rarely achieved in the world of alt-rock/indie. Other interesting sources of lyrical inspiration contribute to their originality, with hundreds of references scattered across their catalogue including the Trojan war, Eastern European migration and Dostoevsky. On this album standouts are: 'Fear of Drowning' - a powerful story about something or other involving swimming from 'my favourite island shores'; 'The Lonely' - the lyrical highpoint of the album summoning men to bravery via electric pianos; 'Carrion' - an epic song about the sea, with a near Edenic eulogy to these isles; 'Blackout' - a beautiful dirge taking in bird watching on the moors to the wasted life of the beer drinker; and 'Lately' - a fourteen minute epic about various indecpiherable and unconnected topics that somehow makes sense (although it could happily lose the last two minutes of guitar feedback without suffering). A note to anyone listening to this album for the first time- don't be put off by the slightly weird opening three tracks! The pearls begin at track four...
2. Idlewild The Remote Part. Idlewild have a fairly unique sounds, combining elements of grunge with indie and folk influences, the closest references being Pearl Jam or R.E.M. The Remote Part is at least their second best album ('100 Broken Windows', the possible eclipser, was released in the 90s) and every track on this album has something special to it. Particularly of note are anthemic opener 'You Held the World in Your Arms', rocker 'I am what I am not' and philosophical rambler 'Stay the Same'. Quality, quality album.
1. Sigur Ros Takk... Sigur Ros are the only band to get two albums on this list. The restraint of () departs on 'Takk...', as full-blooded post-rock eruptions are the norm alongside a great ambition in melody. If the overly long and pretentious 'Se Lest' was taken out of the middle then this would be as close to a flawless album as one could find this side of Heaven. But enough of the negativity... 'Takk/Glossoli' is possibly my favourite song ever and got me hooked on Sigur Ros. Words can't do it justice. Listen to it! Following is 'Hoppipola''s iconic riff, the short refrain of 'Meo Bleosnair' and the aforementioned 'Se Lest'. From thereon in Sigur Ros take you on a wonderful journey through the power-piano chords of 'Saeglopur', the building majesty of 'Milano', the mysterious and disturbed 'Gong', the beautiful 'Andvari', the bombastic and summarising 'Svo Hjoltt' before ending with the tranquility of 'Heysatan' (translation = 'hay making'). No album I know evokes the landscape of its creation so markedly, and towers above all other albums as the musical high point of this decade.
Saturday, 12 December 2009
Top Ten Anthems of the Decade!
This is the first of three end of decade posts on music I hope to make and is an attempt to pick the ten most monumental tunes of the decade. These are by no means my favourite ten, but ten tracks that will forever be associated with the 'naughties'. Let me know if you think of any glaring oversights...
10. Beautiful Day by U2. In the fourth decade of their existence they still managed to produced a track that towered to the highest of epic heights. Impressive.
9. Ruby by Kaiser Chiefs. It's a choon, it was big, it is catchy.
8. Fix You by Coldplay. The anthem of a generation seeking meaning and love. Moving.
7. Bad Day by Daniel Powter. A feelgood song about a bad day. Hmmm.
6. Take Me Out by Franz Ferdinand. Many memories of first year university come with this track!
5. Seven Nation Army by White Stripes. It's easy to forget how big the White Stripes were in the earlier half of the naughties, and Seven Nation Army would surely win a 'most memorable riff' of the decade award.
4. Plug in Baby by Muse. Muse are one of the biggest bands in the world today, yet 'Plug in Baby' from 2002 is still their most recognised archetype, with every note a familiar one - from the opening screech of feedback through the Bach refrain and into the huge chorus.
3. Mr. Brightside by The Killers. Surely the most (over)played track of the decade, this is the song that sent the Killers to stratastrophic levels of popularity. If one can get over the grinding familiarity, it is a sublimely crafted pop song.
2. Yellow by Coldplay. The rise of Coldplay from leaders of the tame-post-Britpop-indie bunch into national heroes has been nothing short of remarkable. This is the song that kicked it all off and still sends shivers up my spine every time I hear the refrain or chorus. Iconic video.
1. Chasing Cars by Snow Patrol. Snow Patrol shatter suggestions of the love song being dead with this, their most famous number. As a measure of just how popular this track is, consider that all the other songs on this list had about 2-4 million hits on their primary YouTube video, whereas Chasing Cars has clocked up 7 and a half million! The simplest of riffs and rhyming patterns combine to form a song drenched in elation, intimacy and wonder. While their previous epic 'run' was shrouded in ambiguity - was it happy or sad? Was it a love song at all? - there is nothing held back on Chasing Cars, and I expect it to be the soundtrack to many weddings in the next decade.
10. Beautiful Day by U2. In the fourth decade of their existence they still managed to produced a track that towered to the highest of epic heights. Impressive.
9. Ruby by Kaiser Chiefs. It's a choon, it was big, it is catchy.
8. Fix You by Coldplay. The anthem of a generation seeking meaning and love. Moving.
7. Bad Day by Daniel Powter. A feelgood song about a bad day. Hmmm.
6. Take Me Out by Franz Ferdinand. Many memories of first year university come with this track!
5. Seven Nation Army by White Stripes. It's easy to forget how big the White Stripes were in the earlier half of the naughties, and Seven Nation Army would surely win a 'most memorable riff' of the decade award.
4. Plug in Baby by Muse. Muse are one of the biggest bands in the world today, yet 'Plug in Baby' from 2002 is still their most recognised archetype, with every note a familiar one - from the opening screech of feedback through the Bach refrain and into the huge chorus.
3. Mr. Brightside by The Killers. Surely the most (over)played track of the decade, this is the song that sent the Killers to stratastrophic levels of popularity. If one can get over the grinding familiarity, it is a sublimely crafted pop song.
2. Yellow by Coldplay. The rise of Coldplay from leaders of the tame-post-Britpop-indie bunch into national heroes has been nothing short of remarkable. This is the song that kicked it all off and still sends shivers up my spine every time I hear the refrain or chorus. Iconic video.
1. Chasing Cars by Snow Patrol. Snow Patrol shatter suggestions of the love song being dead with this, their most famous number. As a measure of just how popular this track is, consider that all the other songs on this list had about 2-4 million hits on their primary YouTube video, whereas Chasing Cars has clocked up 7 and a half million! The simplest of riffs and rhyming patterns combine to form a song drenched in elation, intimacy and wonder. While their previous epic 'run' was shrouded in ambiguity - was it happy or sad? Was it a love song at all? - there is nothing held back on Chasing Cars, and I expect it to be the soundtrack to many weddings in the next decade.
Saturday, 31 October 2009
Israel and Anti-Semitism
Middle East politics is normally a topic I steer well clear of, but have been stirred for blog lethargy a comment by the Chief Rabbi of Poland, Michael Shudrich, on the Today programme yesterday. The discussion concerned whether Jarosław Kaczyński who is the leader of the Polish Law and Justice Party - and with whom the Conservatives are in alliance with in the European Parliament - was anti-semitic. The Chief Rabbi was generous and generally defended Mr. Kaczynski, but he repeatedly cited his recent support for Israel as an evidence that he wasn't anti-semitic.
Although not picked up on by the interviewer this response really grated with me, as it sets a political rather than moral standard for discerning Jewish racism. It is the kind of philosophy that gives carte blanche to the excesses of the Israeli regime as 'anyone who opposes us must be anti-semitic and therefore we don't need to listen ton them'. There are a great number of people who aren't anti-semitic and support the Jewish nation but have grave concerns over the current government of Israel or who would have opposed the 1947-48 settlement. It is also possible that anti-semites might not oppose the existence of the state of Israel because it means that they have a justification for 'driving the Jews back to their own land'.
Political preferences should not be used a measure of racism, as they are usually too nuanced to draw clear conclusions and a hegemony of the 'politicially acceptable' is quickly erected. The only acceptable measure of whether someone is racist towards a particular people group is their genuine attitude toward that group, divorced of any contextual issues.
Although not picked up on by the interviewer this response really grated with me, as it sets a political rather than moral standard for discerning Jewish racism. It is the kind of philosophy that gives carte blanche to the excesses of the Israeli regime as 'anyone who opposes us must be anti-semitic and therefore we don't need to listen ton them'. There are a great number of people who aren't anti-semitic and support the Jewish nation but have grave concerns over the current government of Israel or who would have opposed the 1947-48 settlement. It is also possible that anti-semites might not oppose the existence of the state of Israel because it means that they have a justification for 'driving the Jews back to their own land'.
Political preferences should not be used a measure of racism, as they are usually too nuanced to draw clear conclusions and a hegemony of the 'politicially acceptable' is quickly erected. The only acceptable measure of whether someone is racist towards a particular people group is their genuine attitude toward that group, divorced of any contextual issues.
Saturday, 5 September 2009
Duffy is Brilliant (Song of the Day)
A short and simple post of adoration. Like most artists I now appreciate, I discovered Duffy a while after the initial fever swept the airwaves. Rockferry is quite simply a wonderful album. This is my favourite track, a beautiful song with the unmistakable mark of Bernard Butler upon it.
Wednesday, 2 September 2009
Primal Scream - (I'm Gonna) Cry Myself Blind
Until this week I'd somehow managed to avoid listening to Primal Scream. A couple of days ago I decided to pop on the 'best of' compilation I found sitting in my new kitchen. I'm not yet fully convinced by PS, but this particular track struck me instantly. Think groove/redemption song/ballad/yearning dirge.
Unfortunately no YouTube video available, but do listen to it on Spotify.
Unfortunately no YouTube video available, but do listen to it on Spotify.
Tuesday, 1 September 2009
Statistics Aren't The Problem (Journalists Are...)
"Lies, damned lies and statistics"; "You can prove anything with statistics". No. Not true. I don't buy into the 'anti-statistic' sentiment. Statistics are good - they tell how things really are. Or at least they should. The problem is, many quarters of the journalistic world present statistics in a way that most sensationalises a story, and in doing so often 'mis-present' or fail to explain fully what the statistic is measuring.
Two news stories this morning enraged me as they respectively fell foul of these crimes of ambiguity and sensationalism. The first was the release of a harrowing survey by the NSPCC and Bristol University that reported that '1 in 3 teenage girls are sexually abused by their boyfriends'. Or so Sky News said. I immediately wondered - does that mean that out of all the teenage girls in Britain 33% are abused by their boyfriends or that out of all the teenage girls in Britain that have boyfriends 1 in 3 are abused? For the sake of argument let's say that at any one time 50% of teenage girls have boyfriends. If the statistic means the former possibility it means that there is abuse in 66% of teenage relationships while the latter explanation would be only 33%, but then the 'headline' statistic would be spurious in that 1 in 6 rather than 1 in 3 teenage girls as a whole were abused.
The relevant BBC News website article provided little help in clearing up this issue. The best article was this one by The Telegraph, which while not fully resolving the above conundrum was clear in presenting the 'secondary' data in a precise manner. Whatever the truth, these statistics are a good in that they highlight a horrendous social phenomenon that so many young and vulnerable girls are living under the dark shadow of sexual abuse. The problem here is journalists not being clear about what the data means.
Having vaguely sung the praises of the Telegraph, it is now time to slam it. Their front page today is "Britain Faces Blackouts for the First Time Since 1970s". This is the kind of thing that would get people stocking up on candles, tinned food and petrol if taken at face value. But what the story actually details is the fact that if demand and supply of energy continue on their current trajectories, then there will be a power shortage in eight years time! If that wasn't enough, the exact nature of the power shortage is that each household in the UK would be denied power for one hour per calendar year. How can journalists (and editors) possibly get away with making this a front page story? This isn't any old mountain out of a molehill, it is Everest out of a grain of sand.
I guess it was particularly disappointing that it came from the Daily Telegraph which represents 50% of the decent journalistic output in the UK (The Guardian being the other 50%). Sensationalism is often said to be a tabloid phenomenon but often, as today proves, the broadsheets are just as guilty.
Two news stories this morning enraged me as they respectively fell foul of these crimes of ambiguity and sensationalism. The first was the release of a harrowing survey by the NSPCC and Bristol University that reported that '1 in 3 teenage girls are sexually abused by their boyfriends'. Or so Sky News said. I immediately wondered - does that mean that out of all the teenage girls in Britain 33% are abused by their boyfriends or that out of all the teenage girls in Britain that have boyfriends 1 in 3 are abused? For the sake of argument let's say that at any one time 50% of teenage girls have boyfriends. If the statistic means the former possibility it means that there is abuse in 66% of teenage relationships while the latter explanation would be only 33%, but then the 'headline' statistic would be spurious in that 1 in 6 rather than 1 in 3 teenage girls as a whole were abused.
The relevant BBC News website article provided little help in clearing up this issue. The best article was this one by The Telegraph, which while not fully resolving the above conundrum was clear in presenting the 'secondary' data in a precise manner. Whatever the truth, these statistics are a good in that they highlight a horrendous social phenomenon that so many young and vulnerable girls are living under the dark shadow of sexual abuse. The problem here is journalists not being clear about what the data means.
Having vaguely sung the praises of the Telegraph, it is now time to slam it. Their front page today is "Britain Faces Blackouts for the First Time Since 1970s". This is the kind of thing that would get people stocking up on candles, tinned food and petrol if taken at face value. But what the story actually details is the fact that if demand and supply of energy continue on their current trajectories, then there will be a power shortage in eight years time! If that wasn't enough, the exact nature of the power shortage is that each household in the UK would be denied power for one hour per calendar year. How can journalists (and editors) possibly get away with making this a front page story? This isn't any old mountain out of a molehill, it is Everest out of a grain of sand.
I guess it was particularly disappointing that it came from the Daily Telegraph which represents 50% of the decent journalistic output in the UK (The Guardian being the other 50%). Sensationalism is often said to be a tabloid phenomenon but often, as today proves, the broadsheets are just as guilty.
Monday, 31 August 2009
Strange Striker Shenanigans at St. James'
Newcastle United were inevitably going to lose a lot of their 'star' names following relegation (and perhaps no bad thing either), but the management (whoever they may be at this particular juncture of time) seem to be actively stripping the strike force beyond the bare minimum. They do have a decent paring in Ameobi and Carroll, but the recent news that Spaniard Xisco has gone on loan to Racing Santander is curious, as he was the only other first team forward on the books.
Why loan out Xisco? He may not have had a great career at St. James' so far, but surely the Championship would be a good arena to try and get something out of him. Henceforth, when Ameobi or Carroll are injured (or both, as is the case for tonight's game against Leicester) there is no-one to fall back on except reserves and midfielders. Perhaps it is an attempt to further slash to wage-bill, but with many high earning players already departed this appears a marginal decision if it is the case.
However, the curiosity does not end there. Newcastle still have an international forward on their books who goes by the name of Alan Smith. Remember him? These days he's normally found hanging around the halfway line and it can't be long until he's pressed into centre-half duties. His change of position can hardly be said to have improved his standing as a footballer, and again the Championship is an ideal arena for him to rediscover his undoubted up-front magic. But no, Kevin Nolan starts alongside reserve Ranger as the 'strike' force.
I have a lot of respect for what Chris Hughton has done under difficult circumstances, but I would like to know why I'm not watching Xisco and Smith at the top of the park. I doubt many Championship defences would relish the prospect of keeping them out for 90 minutes.
UPDATE: Nile Ranger had a great game tonight and looks like a very exciting prospect. However, this doesn not change my opinions expressed above with regards to the striker situation at St. James'.
Why loan out Xisco? He may not have had a great career at St. James' so far, but surely the Championship would be a good arena to try and get something out of him. Henceforth, when Ameobi or Carroll are injured (or both, as is the case for tonight's game against Leicester) there is no-one to fall back on except reserves and midfielders. Perhaps it is an attempt to further slash to wage-bill, but with many high earning players already departed this appears a marginal decision if it is the case.
However, the curiosity does not end there. Newcastle still have an international forward on their books who goes by the name of Alan Smith. Remember him? These days he's normally found hanging around the halfway line and it can't be long until he's pressed into centre-half duties. His change of position can hardly be said to have improved his standing as a footballer, and again the Championship is an ideal arena for him to rediscover his undoubted up-front magic. But no, Kevin Nolan starts alongside reserve Ranger as the 'strike' force.
I have a lot of respect for what Chris Hughton has done under difficult circumstances, but I would like to know why I'm not watching Xisco and Smith at the top of the park. I doubt many Championship defences would relish the prospect of keeping them out for 90 minutes.
UPDATE: Nile Ranger had a great game tonight and looks like a very exciting prospect. However, this doesn not change my opinions expressed above with regards to the striker situation at St. James'.
Saturday, 29 August 2009
Oasis Split - A Tribute
It's not altogether unsurprising that the reason for Oasis' demise is a relationship turned so bad that working as a band is no longer viable. The relationship is, of course, that of siblings Liam and Noel Gallagher. While the 'edge' between them was accredited as a motivating and even creative factor in the bands halcyon days, the cancer of hate has spread to destroy the most iconic British rock band since The Beatles. If ever an illustration of the destructiveness of pride was needed one need look no further than this dissolution.
It is a sad and unspectacular end, but not without silver linings. Firstly, Oasis have saved themselves the ignoble drift into rock geriatricism of the type that the Rolling Stones have refined into a science. A seventy-year old Liam hitting a tambourine and swearing at everyone is a happily evaded embarrassment. Secondly, British rock may finally come out of the shadows of Oasis' wings. Of course there have been pretenders to the throne - The Coral, The Darkness, Stereophonics - but all fell short of the mark or pay such overwhelming homage to 'The Kings' that their own identities only limply bloomed.
The result is that classic rock is no longer the mainstream of guitar music, being pushed aside by art-pop, emo and the curious crop of current NME favourites (think Friendly Fires, Enter Shikari, Crystal Castles). Of course genres mutate - Oasis' sound was (alas, yes, the past tense) informed by Zeppelin, the Sex Pistols and the Smiths in equal measure to their first Liverpudlian ancestors. Yet this Rock and Roll stew really hasn't been flavoured since the high water mark of Britpop, of which the Gallaghers were indisputably the vanguard. And there is a limit to amount of reheats one can stomach. Maybe, just maybe, the end of Oasis will breathe life into British rock once again.
An event of such magnitude in musical history shouldn't pass without a list. So here are links to Amos and Paul's top ten Oasis numbers. Tellingly, all are from the era of their first three albums, a tribute both the high standards set in their earlier years and the failure to live up to them later on...
1. Slide Away ('Definitely Maybe', 1994). Oasis didn't write a huge number of love songs, but Slide Away is an epic and moving example tucked towards the end of their debut album. Simple both musically and lyrically, it is a monument of the genius on Noel's song-craftmanship and the idiosyncratic layering of guitar upon guitar upon guitar.
2. Stand By Me ('Be Here Now', 1997). Second single from the wrongly derided third album, Stand By Me wanders happily along for six minutes or so, amusingly only reaching the first chorus after the two-minute mark. It is, however, another very satisfying epic ballad.
3. Rockin' Chair (B-Side, 'Roll With It', 1995). Oasis were the masters of B-sides, with many fine tunes receiving no more noble a fate. Although a good motivational device to buy singles, it meant many lost gems that didn't pass into the public consciousness they deserved. Take 'Rockin' Chair' for example, a mournful acoustic number that outshines the woefully bland A-side in all respects except 'swagger'.
4. Don't Look Back In Anger ('Morning Glory', 1995). A&P don't care how many times it's overplayed, it's brilliant, and still moves raucous singalongs in every context it happens to be crawl.
5. Live Forever ('Definitely Maybe', 1994). A manifesto: lyrics proclaiming rock immortality, a melodic and memorable chorus and a big fat guitar solo. Who could ask for anything more?
6. Magic Pie ('Be Here Now', 1997). Perhaps Oasis' most psychedelic moment,'Magic Pie' builds from an innocuous strummed intro into a seven-minute marathon, articulating yearning and achievement for something or other. Best listened to in the evening.
7. Supersonic ('Definitely Maybe', 1994). Their debut single combined delightfully quirky lyrics with a suitably strident rock sound that was soon to become anthemic. Has stood the test of time remarkably well.
8. Some Might Say ('Morning Glory', 1995). Similar in many ways to Supersonic, this is classic Oasis and earned the band the first of their eight number ones.
9. The Masterplan (B-Side, 'Wonderwall', 1995). A quieter moment in the canon, and although perhaps trying to prove a point with string quartets and 'deep' lyrics 'The Masterplan' is a moving paean. Again, inexplicably relegated to a B-Side.
10. Champagne Supernova ('Morning Glory', 1995). Closer to mega-selling second album, Champagne Supernova is a distillation of the wonder and glory of those heady Britpop days, and, reputedly, the only Oasis song Noel will listen to.
It is a sad and unspectacular end, but not without silver linings. Firstly, Oasis have saved themselves the ignoble drift into rock geriatricism of the type that the Rolling Stones have refined into a science. A seventy-year old Liam hitting a tambourine and swearing at everyone is a happily evaded embarrassment. Secondly, British rock may finally come out of the shadows of Oasis' wings. Of course there have been pretenders to the throne - The Coral, The Darkness, Stereophonics - but all fell short of the mark or pay such overwhelming homage to 'The Kings' that their own identities only limply bloomed.
The result is that classic rock is no longer the mainstream of guitar music, being pushed aside by art-pop, emo and the curious crop of current NME favourites (think Friendly Fires, Enter Shikari, Crystal Castles). Of course genres mutate - Oasis' sound was (alas, yes, the past tense) informed by Zeppelin, the Sex Pistols and the Smiths in equal measure to their first Liverpudlian ancestors. Yet this Rock and Roll stew really hasn't been flavoured since the high water mark of Britpop, of which the Gallaghers were indisputably the vanguard. And there is a limit to amount of reheats one can stomach. Maybe, just maybe, the end of Oasis will breathe life into British rock once again.
An event of such magnitude in musical history shouldn't pass without a list. So here are links to Amos and Paul's top ten Oasis numbers. Tellingly, all are from the era of their first three albums, a tribute both the high standards set in their earlier years and the failure to live up to them later on...
1. Slide Away ('Definitely Maybe', 1994). Oasis didn't write a huge number of love songs, but Slide Away is an epic and moving example tucked towards the end of their debut album. Simple both musically and lyrically, it is a monument of the genius on Noel's song-craftmanship and the idiosyncratic layering of guitar upon guitar upon guitar.
2. Stand By Me ('Be Here Now', 1997). Second single from the wrongly derided third album, Stand By Me wanders happily along for six minutes or so, amusingly only reaching the first chorus after the two-minute mark. It is, however, another very satisfying epic ballad.
3. Rockin' Chair (B-Side, 'Roll With It', 1995). Oasis were the masters of B-sides, with many fine tunes receiving no more noble a fate. Although a good motivational device to buy singles, it meant many lost gems that didn't pass into the public consciousness they deserved. Take 'Rockin' Chair' for example, a mournful acoustic number that outshines the woefully bland A-side in all respects except 'swagger'.
4. Don't Look Back In Anger ('Morning Glory', 1995). A&P don't care how many times it's overplayed, it's brilliant, and still moves raucous singalongs in every context it happens to be crawl.
5. Live Forever ('Definitely Maybe', 1994). A manifesto: lyrics proclaiming rock immortality, a melodic and memorable chorus and a big fat guitar solo. Who could ask for anything more?
6. Magic Pie ('Be Here Now', 1997). Perhaps Oasis' most psychedelic moment,'Magic Pie' builds from an innocuous strummed intro into a seven-minute marathon, articulating yearning and achievement for something or other. Best listened to in the evening.
7. Supersonic ('Definitely Maybe', 1994). Their debut single combined delightfully quirky lyrics with a suitably strident rock sound that was soon to become anthemic. Has stood the test of time remarkably well.
8. Some Might Say ('Morning Glory', 1995). Similar in many ways to Supersonic, this is classic Oasis and earned the band the first of their eight number ones.
9. The Masterplan (B-Side, 'Wonderwall', 1995). A quieter moment in the canon, and although perhaps trying to prove a point with string quartets and 'deep' lyrics 'The Masterplan' is a moving paean. Again, inexplicably relegated to a B-Side.
10. Champagne Supernova ('Morning Glory', 1995). Closer to mega-selling second album, Champagne Supernova is a distillation of the wonder and glory of those heady Britpop days, and, reputedly, the only Oasis song Noel will listen to.
Monday, 24 August 2009
Light blogging, cricket and live music in Newcastle
Due to unforeseen circumstances, my only internet access for the next few days will be at the (excellent and new) Newcastle City Library, resulting in a definitely light service on A & P for a while.
Not that many thoughts apart from cricket have been allowed to germinate in my mind over these last few days, but now we've won the Ashes back (!!!!!!!!!!!!!!!!!!!!!!!) some form of normal intellectual life should return in the near future.
Just a heads up on a good looking music event at the Tyneside Cinema at 7:30pm on Monday 7th called 'Songwriters and Poets', which is an evening of local musical and lyrical talent. I know Dan Walsh, one of the performers, and he is indeed the finest harbinger of Banjo I've heard.
Not that many thoughts apart from cricket have been allowed to germinate in my mind over these last few days, but now we've won the Ashes back (!!!!!!!!!!!!!!!!!!!!!!!) some form of normal intellectual life should return in the near future.
Just a heads up on a good looking music event at the Tyneside Cinema at 7:30pm on Monday 7th called 'Songwriters and Poets', which is an evening of local musical and lyrical talent. I know Dan Walsh, one of the performers, and he is indeed the finest harbinger of Banjo I've heard.
Tuesday, 18 August 2009
Review: 'Post Electric Blues' by Idlewild
Stalwart fans and mild acquaintances alike will baulk at the title - since when have Idlewild been a blues band? The Scottish quartet have stood so squarly in the anti-blues corner of guitar music that invoking the genre is indeed queer. And why are they ditching the electric guitars?! The first moments of opener 'Younger than America' answer that fear - they're not. Nor is a discernible 'post-electric' musical manifesto being pedalled. Like the philosophy of singer Roddy Woomble's lyrics, the title of their latest album will forever be a mystery.
Beyond lexical speculation, 'Post Electric Blues' is an interesting and enjoyable offering. The broad range of styles encompass classic Idlewild ('City Hall'), rythmic stomping ('Readers & Writers'), lush folk ('Take Me Back to the Islands') and ska ('All Over the Town'). Such variety can err albums towards disjointedness, but 'PEB' manages to be more than just a collection of songs. No doubt this is due to the progression of sound Idlewild have achieved throughout their back catalogue rendering such diversity a natural, and merited, pursuit for a sixth record.
If all this makes 'PEB' sound like a bit of an experimental-muso album then be dissuaded - it is full of the cool passion and musical creativity that make Idlewild such an iconic band. What is lacking, however, is the sense of the album being a 'contemporary narrative'. While Idlewild are far from being a 'political band', their previous albums have somehow managed to bind the listener into a world that, while remain distinct from the mainstream, was resonant with the mood of the day. The first four tracks of 'PEB' offer this, but then it dies off, and for this reason I doubt it will ever become a favourite of the Idlewild fraternity.
However this should not bother more casual or new fans from appreciating 'PEB' in its fullness, and while not adorable it will find at least a place of fondness on the shelves of the committed fan. What is most pleasing is that Idlewild haven't gone down two paths that would have been tragic cul-de-sacs, namely the paths of rehearsing earlier material and accoustic-folk-pop safety. For this reason alone 'PEB' is to be embraced and welcomed as part of the Idlewild cannon.
General Release Date: October 2009
Beyond lexical speculation, 'Post Electric Blues' is an interesting and enjoyable offering. The broad range of styles encompass classic Idlewild ('City Hall'), rythmic stomping ('Readers & Writers'), lush folk ('Take Me Back to the Islands') and ska ('All Over the Town'). Such variety can err albums towards disjointedness, but 'PEB' manages to be more than just a collection of songs. No doubt this is due to the progression of sound Idlewild have achieved throughout their back catalogue rendering such diversity a natural, and merited, pursuit for a sixth record.
If all this makes 'PEB' sound like a bit of an experimental-muso album then be dissuaded - it is full of the cool passion and musical creativity that make Idlewild such an iconic band. What is lacking, however, is the sense of the album being a 'contemporary narrative'. While Idlewild are far from being a 'political band', their previous albums have somehow managed to bind the listener into a world that, while remain distinct from the mainstream, was resonant with the mood of the day. The first four tracks of 'PEB' offer this, but then it dies off, and for this reason I doubt it will ever become a favourite of the Idlewild fraternity.
However this should not bother more casual or new fans from appreciating 'PEB' in its fullness, and while not adorable it will find at least a place of fondness on the shelves of the committed fan. What is most pleasing is that Idlewild haven't gone down two paths that would have been tragic cul-de-sacs, namely the paths of rehearsing earlier material and accoustic-folk-pop safety. For this reason alone 'PEB' is to be embraced and welcomed as part of the Idlewild cannon.
General Release Date: October 2009
Monday, 17 August 2009
Tony Reinke on Eternal Rewards
I'd like to point readers in the direction of this excellent post by Tony Reinke on 'eternal rewards'.
This has always been a tricky category to get a grip on. All kinds of questions can rear up in the mind when thinking about distinction in Heaven: if someone has more than me in Heaven will I be perfectly happy? I thought that we weren't justified by works? What about those who just 'scrape in'?
Hopefully Tony's post will go some way to answering such questions you may have on this topic.
This has always been a tricky category to get a grip on. All kinds of questions can rear up in the mind when thinking about distinction in Heaven: if someone has more than me in Heaven will I be perfectly happy? I thought that we weren't justified by works? What about those who just 'scrape in'?
Hopefully Tony's post will go some way to answering such questions you may have on this topic.
Sunday, 16 August 2009
Clayton TV - 24hr Christian Broadcasting
Readers who don't attend my church probably won't have come across one of our newest ventures, 'Clayton TV'. It is a 24hr internet television channel that allows users to search through archived programme content as well as following a live TV schedule.
There are some great shows on there so go an have an explore for yourself. My personal favourite is 'The Chat Room' series, where 'Pope' of Sydney Anglicanism Phillip Jensen talks in depth on a number of interesting topics.
I hope some of my readers will find it an enjoyable and edifying resource!
(In addition, 'The Sunday Service' is broadcast on the UCB Channel on Sky every Sunday and Monday.)
There are some great shows on there so go an have an explore for yourself. My personal favourite is 'The Chat Room' series, where 'Pope' of Sydney Anglicanism Phillip Jensen talks in depth on a number of interesting topics.
I hope some of my readers will find it an enjoyable and edifying resource!
(In addition, 'The Sunday Service' is broadcast on the UCB Channel on Sky every Sunday and Monday.)
Saturday, 15 August 2009
Premier League Prediction
1. Chelsea (just because I bring myself to predict a Man Utd victory)
2. Man Utd
3. Man City (there IS enough money to buy a place in the elite)
4. Arsenal (I expect a return to classiness if Arshavin and Nasri stay fit)
5. Liverpool (losing Alonso a big blow)
6. Aston Villa (some good summer signings but prob won't run with the big boys this time)
7. Tottenham Hotspur (Harry continues to amass an impressive squad)
8. Everton (always there or thereabouts)
9. West Ham (established themselves as a solid mid-table team)
10. Fulham (Hodgson a footballing genius, but perhaps last year was the best it can get for Fulham)
11. Bolton (annoying Lanc club who win a surprising number of games)
12. Blackburn (Surely must be better than last season)
13. Sunderland (will benefit immensely from gaining Steve Bruce)
14. Wigan (will be hurt immensely through losing Steve Bruce)
15. Portsmouth (it won't be quite as gloomy as the gloomongers gloomily predict)
16. Birmingham (most likely promotion side to retain their place)
17. Stoke (not convinced that last year wasn't a one-off exceptional effort)
18. Burnley (I'm putting them two places higher than most people)
19. Wolves (ALWAYS go down when promoted)
20. Hull (got found out second half of last season and will struggle)
2. Man Utd
3. Man City (there IS enough money to buy a place in the elite)
4. Arsenal (I expect a return to classiness if Arshavin and Nasri stay fit)
5. Liverpool (losing Alonso a big blow)
6. Aston Villa (some good summer signings but prob won't run with the big boys this time)
7. Tottenham Hotspur (Harry continues to amass an impressive squad)
8. Everton (always there or thereabouts)
9. West Ham (established themselves as a solid mid-table team)
10. Fulham (Hodgson a footballing genius, but perhaps last year was the best it can get for Fulham)
11. Bolton (annoying Lanc club who win a surprising number of games)
12. Blackburn (Surely must be better than last season)
13. Sunderland (will benefit immensely from gaining Steve Bruce)
14. Wigan (will be hurt immensely through losing Steve Bruce)
15. Portsmouth (it won't be quite as gloomy as the gloomongers gloomily predict)
16. Birmingham (most likely promotion side to retain their place)
17. Stoke (not convinced that last year wasn't a one-off exceptional effort)
18. Burnley (I'm putting them two places higher than most people)
19. Wolves (ALWAYS go down when promoted)
20. Hull (got found out second half of last season and will struggle)
Thursday, 13 August 2009
RNSO Return to the Sage - Get Tickets!
Sadly I won't be able to attend this event, but I highly recommend that everyone in the North East who is free on Sunday 18th October gets tickets. I saw the Royal National Scottish Orchestra perform around 18 months ago in the Sage Gateshead, and they delivered far-and-away the best orchestral performance I've heard in that venue. Sorry Northern Sinfonia!
Last time they performed Grieg's Piano Concerto in A and Dvorak's 8th, and this time offer similar fayre in Berg's Violin Concerto, Mahler's 'Blumine' and Dvorak's 7th. My knowledge of Scottish orchestras is fairly limited, but if there is a better one than the RNSO then I want to know about them!
The Sage have announced their full autumn and winter classical programme, so check through for more great value top quality classical music on the banks of the Tyne this year.
Last time they performed Grieg's Piano Concerto in A and Dvorak's 8th, and this time offer similar fayre in Berg's Violin Concerto, Mahler's 'Blumine' and Dvorak's 7th. My knowledge of Scottish orchestras is fairly limited, but if there is a better one than the RNSO then I want to know about them!
The Sage have announced their full autumn and winter classical programme, so check through for more great value top quality classical music on the banks of the Tyne this year.
Amos and Paul 're-launched'!
I've decided to consolidate all of my blogging onto Amos and Paul and not to worry that people who want to be reading about non-materialistic industrialism might come across a review of an obscure indie band or those searching for Christian musings to stumble over a rant about the England cricket team instead. It seems a lot more authentic not categorising my thoughts for different audiences on different blogs. As an example, my friend JamesDoc's blog excellently combines the latest news on the Christian music scene with tech blogging.
Anyway to mark this I've redone the graphics of the blog (as far as my very limited rely on blogger for everything skill allows me) and as I thought the minimalistic white on black might not be the most welcoming livery. I've also updated and am in the process of expanding the blogrolls and link lists on the right hand side, and might get round to putting a Tweetboard in at somepoint. I hope readers enjoy the new look, and if you follow this in RSS why not take a look mother site?
On a personal note I'm going to be starting work at my church in a few weeks time. This is a very exciting development in what has turned into an accidental gap year, and I'm really look forward to getting stuck into full-time church life. No doubt there will be sporadic posts relating to this work as the year goes on.
Blessings,
Joe
Anyway to mark this I've redone the graphics of the blog (as far as my very limited rely on blogger for everything skill allows me) and as I thought the minimalistic white on black might not be the most welcoming livery. I've also updated and am in the process of expanding the blogrolls and link lists on the right hand side, and might get round to putting a Tweetboard in at somepoint. I hope readers enjoy the new look, and if you follow this in RSS why not take a look mother site?
On a personal note I'm going to be starting work at my church in a few weeks time. This is a very exciting development in what has turned into an accidental gap year, and I'm really look forward to getting stuck into full-time church life. No doubt there will be sporadic posts relating to this work as the year goes on.
Blessings,
Joe
'Jiggery Pokery' by The Duckworth Lewis Method
Comedy songs are generally not cool or excellent, but The Duckworth Lewis Method's 'Jiggery Pokery' is irresistible to a cricket fan. It can be heard at DLM's Myspace page. For those unfamiliar with DLM they consist of Neil Hannon (Divine Comedy) and Thomas Walsh (Pugwash) and have produced the first album exclusively concerned with the wonderful game of cricket.
'Jiggery Pokery' is a song recounting the dismissal of Mike Gatting by Shane Warne at Old Trafford in 1993 (probably the most famous single delivery in test cricket)from Gatting's perspective. The rhyme is exquisite and the music delightful. Hopefully DLM won't call it close of play after just one album!
'Jiggery Pokery' is a song recounting the dismissal of Mike Gatting by Shane Warne at Old Trafford in 1993 (probably the most famous single delivery in test cricket)from Gatting's perspective. The rhyme is exquisite and the music delightful. Hopefully DLM won't call it close of play after just one album!
Monday, 10 August 2009
Second Albums that OWN Debuts
'Difficult second album' is a phrase oft-employed by music journalists, reflecting a belief that it is a tricky task for a band to match the dynamism and originality of their debut album. This is especially the case if a band has been 'hyped' on the basis of their debut. However, many bands I admire actually produce second albums far superior to their debut. Stunningly, the mainstream music press rated a number of these albums as inferior to their debuts, so here are short rambles about four such scandalously disparaged albums, in order to put things straight:
Bloc Party Weekend in the city > Silent alarm. Silent alarm had some cracking tracks on it - like eating glass, helicopter, positive tension, so here we are - and many other perfectly decent offerings. However, there are a couple of weak tracks and it fails to hang together convincingly as an album. Fast forward to their follow up and no such criticisms can be made. AWITC is an urgent, political, unrelenting rollercoaster through late-naughties London life and morality. The anger and freneticism of the first five tracks give way to a more reflective but no less powerful second half, including melancholic love anthem 'I Still Remember'. An artistic triumph.
The Killers Sam's Town > Hot Fuss. Hot Fuss: a scorching opener, four singles of varying levels of overplayage and then a lot of nothing. Verdict? Initial Killers hype unjustified. Sam's Town, in contrast, is an album without a weak song on it (excluding the UK bonus track but that doesn't count). A story of small town America, it flows beautifully from beginning to end in a way that makes the whole much greater than the sum of its parts. Description of persons, melancholy and reflection on life are the staple diet of the lyrics, while the music is melodic and driving. The album that has grown most on me is recent times. Do listen to it if you're only familiar with the Killers' hits.
The Editors An End Has a Start > The Back Room. I liked 'The Back Room' and I still do; it introduced the unique voice of Tom Smith and a post-punk revival sound more introspective than that that of contemporaries Franz Ferdinand or The Rakes. All the tracks are enjoyable, while 'Fall' and 'Camera' are bona fide epics. However, 'An End Has a Start' goes even better. Again it has that crucial element of being a 'whole' album and within its 'albumnity' it contains awesome and moving songs. Most noticeable is the improvement in lyrical offerings, which on the first album largely consisted of one vaguely philosophical sounding phrase repeated over and over again. But AEHAS is full deep, self-aware and spiritual poetry. The post-punk sound developed a fuller epic-rock milieu that most effectively carries Smith's literary renaissance. 'Smokers Outside The Hospital Doors' and 'Weight of the World' are the highlights and shouldn't be listened to while operating heavy machinery or if pregnant.
Stellastarr* Harmonies for the Haunted > Stellastarr* A very similar (albeit very much lower profile) story to the Editors. Spiky and 'cool' punk-pop gives way to epic and tense indie-rock. The opening piano riff oozes promise and the Brooklyners deliver with a musically rich album full of romance, loneliness and heartache. Alongside opener 'Lost in Time', dark love song 'Sweet Troubled Soul' and the monumental 'On My Own' standout. Again, the mainstream critics were mad to miss the genius of this LP.
Bloc Party Weekend in the city > Silent alarm. Silent alarm had some cracking tracks on it - like eating glass, helicopter, positive tension, so here we are - and many other perfectly decent offerings. However, there are a couple of weak tracks and it fails to hang together convincingly as an album. Fast forward to their follow up and no such criticisms can be made. AWITC is an urgent, political, unrelenting rollercoaster through late-naughties London life and morality. The anger and freneticism of the first five tracks give way to a more reflective but no less powerful second half, including melancholic love anthem 'I Still Remember'. An artistic triumph.
The Killers Sam's Town > Hot Fuss. Hot Fuss: a scorching opener, four singles of varying levels of overplayage and then a lot of nothing. Verdict? Initial Killers hype unjustified. Sam's Town, in contrast, is an album without a weak song on it (excluding the UK bonus track but that doesn't count). A story of small town America, it flows beautifully from beginning to end in a way that makes the whole much greater than the sum of its parts. Description of persons, melancholy and reflection on life are the staple diet of the lyrics, while the music is melodic and driving. The album that has grown most on me is recent times. Do listen to it if you're only familiar with the Killers' hits.
The Editors An End Has a Start > The Back Room. I liked 'The Back Room' and I still do; it introduced the unique voice of Tom Smith and a post-punk revival sound more introspective than that that of contemporaries Franz Ferdinand or The Rakes. All the tracks are enjoyable, while 'Fall' and 'Camera' are bona fide epics. However, 'An End Has a Start' goes even better. Again it has that crucial element of being a 'whole' album and within its 'albumnity' it contains awesome and moving songs. Most noticeable is the improvement in lyrical offerings, which on the first album largely consisted of one vaguely philosophical sounding phrase repeated over and over again. But AEHAS is full deep, self-aware and spiritual poetry. The post-punk sound developed a fuller epic-rock milieu that most effectively carries Smith's literary renaissance. 'Smokers Outside The Hospital Doors' and 'Weight of the World' are the highlights and shouldn't be listened to while operating heavy machinery or if pregnant.
Stellastarr* Harmonies for the Haunted > Stellastarr* A very similar (albeit very much lower profile) story to the Editors. Spiky and 'cool' punk-pop gives way to epic and tense indie-rock. The opening piano riff oozes promise and the Brooklyners deliver with a musically rich album full of romance, loneliness and heartache. Alongside opener 'Lost in Time', dark love song 'Sweet Troubled Soul' and the monumental 'On My Own' standout. Again, the mainstream critics were mad to miss the genius of this LP.
Monday, 20 July 2009
Two Highly Recommended Talks
Today I listened to two talks that I thoroughly recommend giving a listen. The first is this message by Mark Driscoll on ministry and idolatry. It is a talk worth listening to purely for his brief yet deep insights on the nature and perniciousness of idolatry, regardless of how relevant the application to church ministry may or may not be to you.
The second talk is this interview of J.I. Packer by Mark Dever and Matt Schmucker, part of the 9 Marks Interview Series (some other very good ones to check out). Although interesting through out, the real gold comes at the end when Packer pleads with Christians to view themselves as warriors; I won't say too much more as I don't want to encroach on his eloquence and effect.
Anyone listened to any great messages recently that they'd like to share?
The second talk is this interview of J.I. Packer by Mark Dever and Matt Schmucker, part of the 9 Marks Interview Series (some other very good ones to check out). Although interesting through out, the real gold comes at the end when Packer pleads with Christians to view themselves as warriors; I won't say too much more as I don't want to encroach on his eloquence and effect.
Anyone listened to any great messages recently that they'd like to share?
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