You Can Tell By The Way I Use My Walk

Despite the utter contempt for snow-worriers and ice-cowards exhibited in my previous post I must admit that conditions here in the UK are possibly a little worse than those I was so glibly making light of. There are talks nationally of fuel rationing and billions of pounds lost from the UK economy. Things are beginning to sound dire. Or rather, more dire. And even here in quiet old backwater Leamo we have the odd snow drift that occasionally reaches a height of 2 inches or more and the odd bush that has been felled by the sheer weight of snow upon it.

I’ve been trying to phone Ray Mears but he stopped taking my calls sometime before Christmas.

What is most noticeable though about this current instance of bad weather is the persistence of the white stuff. Over the last few years any snow that has fallen in these parts has disappeared again within 24 hours or so. Like it’s been a mere token gesture. A quick hello and then it’s gone.

Not so on this occasion. Three days later all the snow remains in full force and has slowly transformed itself into ice so hard and slippy I’m amazed I haven’t seen Dean dragging Torvill along the pavements by her frilly forearms.

Walking has suddenly become an extreme sport. It takes the utmost concentration to remain upright on one’s feet – let alone placing one foot in front of the other and perambulating normally.

Now, when I walk about town I am wont to plug myself into my MP3 player and lose myself in some bangin’ tunes, innit?

Because of the snow I find I am having to modify and adjust my normal playlist. Fast music, you see, makes me walk fast. It gets the old heart rate going and I end up scurrying around at supersonic speed.

Speed and ice do not mix. Not unless you can allow for a sudden and unexpected lowering of your eye-level to the pavement and a braking distance of 5 to 6 feet.

So I am having to select all the ballady, slower stuff so that my walking speed slips into a funereal march that ticks all the health and safety boxes for walking in hazardous conditions.

The droning tones of Leonard Cohen and David Sylvian have so far protected me from pratfalls and broken limbs of varying degrees of severity.

I ought to be grateful...

But the sublimated extreme sportsman in me is dying to load up a bit of Metallica and go for it.

I could probably take out half the population of Leamington if I pogoed properly.

Silent Night

My grandfather would always walk out of the room when he heard this carol. It was bizarre. Up he’d get and storm off grumbling to himself. I can remember my Nan smiling sadly to us all and explaining it away with “he just can’t bear to hear it; it’s to do with the war”.

It puzzled me for years. Sometime in my teens I thought I had it figured. Silent Night is a German carol. That must be it, I thought. The Germans, the war time foe. Though his reaction was so extreme this hardly seemed a decent explanation.

It wasn’t until a few years ago that he finally told me the reason. Before his illness and old age robbed him of the ability and the will to tell me stories of his war time experiences he just came out with it one lunch time while we were tucking into fish and chips.

My grandfather was a seaman in the Royal Navy and took part in a great number of the convoys that carried and fetched supplied to and from South Africa, Europe, Malta and the Med, etc. His ship, H.M.S. Kelvin, saw a good deal of action and was one of the ships celebrated for breaking through the curtain the Germans and Italians had put around Malta – it was certainly the exploit that he spoke about with the most ease and pride.

This other story though was more painful and was one he’d carried around with him for more than 60 years without speaking much about it...

I believe his ship was part of a night convoy in the North Atlantic. It was winter and bitterly cold. A man overboard would be dead within minutes – from the cold rather than drowning. The going was cautious – German U-Boats were about and very active. The ships were effectively operating under black-out – no lights, engines only and no radio communication. Anything to minimize the possibility of a U-Boat picking them up. Another stipulation was that the ships were not allowed to stop. Not for anything. Not even to help a comrade fallen overboard. They had to keep going; they had to get through.

The ship ahead was unlucky. A U-Boat picked her off sometime in the small hours and she went down spilling her crew - hundreds of men - into the water.

The other ships, including my grandfather’s could not stop to pick up the survivors. They knew this. The men in the water also knew this and very softly sang Silent Night as the convoy and their comrades continued on into the night and away from them.

I cannot imagine the pain of having to live through that night and of having such a memory bubble to the surface for every Christmas that you experience afterwards. If not for his reaction to the carol we would never have known.

When I hear Silent Night now I too will feel sad and an aching sense of pain though for different reasons. And I shall remember all the Christmases when my grandfather disappeared out into the kitchen to bang about with the kettle until the carol had finished.

And I shall feel regret and I shall feel sorrow.

But mostly I shall feel pride.

The Day The Music Died

I’m wondering if I have fallen out of love with music.

Or, to be precise, new music. The discovery of it. The giving a go of new bands. The trying something new. I seem to have become as locked into the music of my formative years as my parents were when I was a kid.

Why does that happen?

When I was a teenager (though I came to record buying late) I was an avid music consumer. I would buy a batch of records every week. Singles, EPs, LPs, picture discs, I couldn’t get enough. I can remember going to a record shop in Birmingham and spending so much money that the shop assistant was kind enough to not ring the amount up on the till to save me from embarrassment. I must have blown an entire week’s wages in one go on rare records and collectibles. That seems so obscenely hedonistic now.

In no time at all I had built up an impressive collection of literally hundreds and hundreds of records (which I still own). They took over my entire bedroom. All of them boxed, alphabetized and inventorized. It was a collection that I lavished love and time on. And each weekend I’d carefully load up my turntable with my latest acquisitions, carefully wiping the dust off them with the special cloth I had bought for this purpose and savouring each hiss and pop of the needle swinging itself into the opening groove.

It was my life.

And then somehow, in the nineties, my expenditure dropped off, my interest waned and was pulled elsewhere. I moved on and got into other things. Books, computers, gadgetry, travel. The fact that the nineties were an awful decade for decent music only hastened me out of the scene.

And now, here in 2009, I’m somehow completely on the outside of it all. On the outside looking in but unsure of where the door is or if I even have enough interest to want to open it and step inside. A few new bands have caught my ear – The Doves, The Editors – but I haven’t gone as fanatically overboard on them as I did when All About Eve arrived on the music scene in 1985 or when Kate Bush released “Hounds Of Love” in the same year.

The passion for new music has left me.

My MP3 player is proof of this. The majority of its contents have been sucked from my CD collection and I’d say that 90% of that is from the eighties. I’ve become trapped in my very own time warp.

I’m no longer “down with the kids”. I’m looking at them and frowning at the infernal noise they listen to and dare to call music – much the same way, I suspect, as when my father just couldn’t appreciate the blisteringly fierce music of The Jam’s “Funeral Pyre” and dismissed it as tuneless rubbish. At the time his music of choice was Buddy Holly and Marty Robbins.

Is this the fate that has now befallen me?

Worryingly, checking my MP3 player this morning, I can’t fail to notice that “El Paso” is already on there...

*Sigh* It’ll be “Rave On” next.

And not in a cool way either.

Popping One's Clogs

My last post (or more specifically, its title) got me thinking about Red Dwarf. And in particular the episode where Rimmer and Lister perform a mind swap. For those of you who don’t know the show, Rimmer is a hologram (cos he’d dead) and gets to borrow Lister’s body for a week on the condition that he puts it through a rigorous training regime to get it back into shape. Rimmer, of course, reneges on the deal and goes on an extravagant orgy of eating and drinking. Lister is less than happy about this and accuses Rimmer of mistreating his body. Rimmer’s answer is that Lister has mistreated his body himself for years... and points out all the little pains, tweaks and twinges that Lister never ever mentions...

Now I’m not, by rule, a hypochondriac. By and large, like Lister, I ignore all but the most insistent messages that my body gives me. Or at least I did when I was younger.

Now that I’m 40 I’m suddenly becoming more aware of them. The slight headaches that come and go. The twinges in my guts. The aches in my elbows and my thumbs. The low level but nevertheless ever-present back pain.

Lying awake in the morning I can’t help but think my body is giving up whispering its messages to me and is now beginning to shout them at me through a loudhailer.

Are these all signs of my inescapable mortality?

I’ve never been one to dwell overlong on death and existentialism but I guess with my granddad grumbling his way through Death’s waiting room and a spritely 2 year old running around my home my thoughts are, quite naturally, being prodded into contemplating the great mysteries of life.

The last ten years of my life have flown by like they’re nothing at all – which is a little worrying for the next ten which will take me up to (gulp) the big 50. I’m already slowing down. I can feel it. My powers of recovery are weaker. I feel more tired more easily. I’m starting to really enjoy eating my greens. And, worst of all, I have stopped buying music.

I am becoming – slowly but perceptibly – old aged.

Mentally I still consider myself the same curmudgeonly, mean spirited grump that I was in my twenties... but physically I’m now less inclined to chase after ruffians on bicycles and throw my shoes at them for being cheeky. The spirit is willing, etc, etc.

I’m becoming less inclined to move with the times. I’m losing my grip on popular culture. Musically I’m still in the 80’s and cannot deny the parallel with my parents who were stuck in the 60’s when I was getting into Killing Joke and Fields Of The Nephilim. New music is beginning to pass me by.

Of course there other factors at work here. Less disposable income. Less space in the house to store my already humungous record and CD collection. But is this how it starts? Will I start falling in love with old black and white films purely because they remind me of my childhood? I can’t deny I’m already tempted to buy retro kid’s programmes on DVD for Tom (Bagpuss, Chorlton & The Wheelies, Pipkins).Of course I realize this is not on. He needs to be experiencing the same reference points as his peers not those of his father.

So am I merely wanting to regress to my own childhood to satisfy my own craving for what was once familiar? Isn’t this one of the signs of old age? Seeking to abandon the confusing present for the safety of the rose tinted past?

But maybe I’m looking at all these twinges and aches the wrong way. Maybe they are protests? A wake up call to get with the programme? To smell the New World coffee? A rallying cry to deliver me from the abyss of entropy?

Hmm. You know, I think that’s how I’m going to look at them.

A call to arms. A war cry raged against the dying of the light...

My 40’s are going to be my new 20’s. Old age can wait a little bit longer.

I is feelin’ the need to get me some bling, innit?

Meeting The Neighbours

It’s funny. Only two weeks ago I was lamenting to my wife, my friends and my work colleagues (anyone who would listen in fact) how much I missed university. The buzz. The creative atmosphere. The sense of higher learning and personal development that offered a sense of relief from the relentless toil of 9 to 5.

And then a week ago the university came back to me...

...in the shape of new neighbours: students.

Oh joy.

Now I might have had my gripes about our old neighbours – the Polish family – but really they were lovely and hardly any trouble at all (as long as you averted your eyes when Mr Daddy-Pole was squatting in front of his barbecue like a Sumo wrestler in shorts so tight his genitals appeared to have been shrink wrapped in cling film). They were quiet. Kept regular hours. And mowed their lawn occasionally.

They had a young family like us and so there was enough common ground for us to harbour mutual respect for each other’s home lives and need for private R&R time.

The same cannot be said for the party animals now living next-door.

OK. I’m being a bit harsh. I’ve had one disturbed night out of 7 but really, given that they’re going to be here for at least 9 months, the odds aren’t great for me maintaining my beauty sleep regime.

Friday night the loud music kicked off at 10.20pm. Not a constant thump-thump-thump (which would be bad enough) but a horrible start and stop track that seemed to be on a permanent loop. It was maddening. However, end-of-week exhaustion worked in my favour and I did manage to drop off... Only to be woken at 1.0am by the same track now being pumped so loudly out of a car parked out the front that I could hear the house bricks vaporizing with each thump of the bass.

And then the music was unbelievably drowned out by a sleep shattering barrage of giggling and shrieking and screamed conversations whose beginnings, middles and ends consisted solely off “yeah, man, like, yeah, like, yeah man...”

In the end I had to don trousers and coat (it only occurs to me now that I was in danger of adopting flasher chic) and go outside and politely hail them over the hedge. Tempted as I was to give them a mouthful (I’m only talking strong language here, OK?) I decided to keep it polite. I figured it might be wiser not to launch straight off into a war on my own doorstep. I asked them if they wouldn’t mind “keeping it down just a bit so that their neighbours could get some sleep?”

To be fair to them, they apologized and the music volume was instantly dropped. And within minutes they had all disbursed and gone back to their hashish bongs or whatever it is they’re called these days. And I was able to get back to sleep.

However I was tired and grumpy the next day. And I suddenly recalled all the things about Uni life that had begun to irritate me greatly when I was there.

Students and their fun and their music and their good times and their living life to the max and their craziness and their drinking and their inane loudness and their totally in your face youthfulness and ebullience.

Bah humbug!

Come back Mr Cling Film – all is forgiven!

The Littlest Shoplifter

I’d like to make it clear that, as a rule, we do not hold the Artful Dodger or Fagin in high regard in my house. We do not concur with the ethos that you “have to pick a pocket or two” to make it in this world and, with this is mind, we do our best, Karen and me, to instill good manners, the twin virtues of honesty and integrity and an all encompassing high moral outlook into our children so that they may one day bloom into fine, upstanding citizens of the future global community.

So it was a shock to find out that one of them is, by nature, a shoplifter.

We’d nipped into town on Saturday afternoon to run a few boring errands. These lasted a mere hour but seemed interminably forever to Ben and Tom so on the way back to the car we elected to nip into a neat little newsagent en route to purchase some sweetie treats for us all.

Tom was completely ensconced in his pushchair by this point, with the clear plastic rain cover fastened down tight over him to protect him from the lashings of a particularly vicious rain shower.

We were no more than 2 minutes in the shop. Just enough time for me to buy four packets of Cadbury’s Giant Chocolate Buttons (I heartily recommend them for a mid afternoon snack) and clear the moths out of my wallet to pay for them.

We then headed back to the car with our well-gotten gains...

...only to find when we extricated Tom from his little plastic bubble that the little monkey had somehow unfastened one side of the cover and had managed to half-inch a huge birthday badge from the newsagent without either them or us noticing. He’d also managed to remove it from its cardboard packaging and undo the safety pin at the back.

The badge – an ironic comment I’m sure on his father’s approaching 40th birthday in 2 week’s time – read in large bold letters: HAPPY 80th!

We weren’t sure whether to laugh or... well, not cry exactly, but at the very least give Tom the “angry face”. As it was we really didn’t have the heart to do the latter. He looked far too cute and innocent to be flogged for the sake of a £1.39 badge.

And I’m afraid we also failed in our civic duty to return the badge to the premises from which it was so illegally wrested and restore our previously unblemished characters. We were too knackered and far too wet and just wanted to return home as quickly as possible.

So Tom got his chocolate without a frown and the badge was shoved into a drawer that has now been enshrined as “Tom’s First Haul”.

Next week we’re taking him to the bank to see how he gets on with the ATM’s and possibly visiting a high class jeweller afterwards.

All being well when I next blog to you all I shall be doing so from a plush apartment in St Moritz.

After all...

Why should we break our backs
Stupidly paying tax?
Better get some untaxed income
Better to pick-a-pocket or two...

I love a good musical, me.

Highs And Lows And Somewhere Stuck In-Between

Apologies for the ragbag nature of this post but (to well and truly mix my metaphors) that’s the way the cookie is crumbling today.

First up on the blog podium is the news that I have at last been awarded my degree. I finally got my results yesterday and have come through over 10 years of part time study to be granted a good 2:1 honours class English degree from Warwick University. And many, many thanks to French Fancy who was kind enough to ask after my results yesterday when the rest of you had clearly forgotten all about them *sniff sniff* I mean it’s not like you have lives or anything...

Second up – and just because you’d have to be dead or in a coma to have missed the news this morning – it seems that reports of Michael Jackson’s death have not been exaggerated... though part of me, the cynical part, is wondering if it’s all a scam and he’s faked his own death.

Isn’t that awful?

I must admit, although it’s sad to hear of his death – he was after all hugely talented (though even a hugely talentless person’s death is sad news) – the news reportage and media accolades are cheesing me off something rotten. This is the same media that only weeks ago was joyously slagging him off for his financial problems and his dodgy history of alleged misconduct with children whose parents were keen to have their kiddie-winks associated with the self proclaimed mega-rich King of Pop.

I mean at one point you couldn’t move on the telly without every celeb going taking a pot-shot at MJ’s rumoured paedophilia. The air waves were full of jokes along the lines of: does Michael like The Backstreet Boys or does he prefer Boyz To Men? And comedians even now still wheel out an obligatory Michael Jackson joke during their many and varied routines. Because let’s face it, it’s easy enough to do.

Suddenly though, today, the media world is full of po-faced accolades and high-falutin’ laurels from all and sundry announcing with fine gravitas that The King Of Pop – the Legend – is dead. Sob. Sob.

Spare me.

*sigh*

Oh I don’t know. If I’ve nothing good to say, maybe I ought to just play it safe and not say anything at all?

Lastly, it’s been a weird old week. I managed to get myself stuck in a lift at work yesterday. First time in my life it’s ever happened. There I am at Council HQ (which thankfully is only 4 storey’s high) and the lift cuts out between floors 3 and 4. From out of a tinny wall speaker I could hear Stephen Hawking announcing that the lift was “out of service”. It was good to have that pointed out.

I followed the instruction printed on the wall. I pressed the button for the operator. I didn’t panic. I kept calm. I spoke clearly. And most important of all I didn’t speak while the operator spoke. The instructions were very clear about that. It seems that in an emergency – although I am the one trapped – what she has to say takes precedence. Well fine. I know my place.

Stuck in a metal box no wider than 6ft and suspended tens of metres above bone shattering concrete.

It wasn’t the best 5 minutes of my life, I must admit, but my work colleagues had me out in a jiffy before I could entertain too many thoughts of making Hollywood style elevator escapes. I was thinking Speed. I was thinking The Matrix. Both of which oddly star Keanu Reeves.

So.

How to wrap this post up?

It’s obvious really.

The only way is up!

P.S. There is no spoon. ;-)

Fun To Funky

The BBC managed to divide my loyalties last night.

Was it to be Heroes – now already half way through the much improved fourth series? Or was it to be the first episode of the brand new series of Ashes To Ashes?

In the end it was no contest. The twin allure of Keeley Hawes and “Gene Hunt” (possibly the finest fictional cop creation of the last 20 years) managed to knock Hayden Patisserie (or whatever her name is) and Silage into a cocked hat.

The Quattro beats the Petrellis as sure as rock beats scissors.

Apologies for those of you who don’t get this show but your loss enables the rest of us to feel smug. Thank you for your sacrifice.

Yes. My life is complete. The Gene Genie is back not only with a vengeance but also with a cracking soundtrack that featured The Human League, Duran Duran and The Thompson Twins (I used to love The Thompson Twins – it was so nice to hear them again).

Hawes’ “Alex Drake” character has been given something of a makeover – the New Wave makeup has been toned down, the perm has disappeared in favour of a flicky bob and her hot pants are now tighter than Hunt’s shoulder holster. In fact whereas a bullet from Hunt stands only a 99% chance of flooring you the arsenal Keeley is packing in those hot pants is guaranteed to a put a red blooded male on his back without fail 100% of the time and without leaving an unsightly exit wound. A definite plus for those of you who can’t afford dry cleaning bills. She can fire a few rounds in my direction any time.

Last night’s episode tipped us straight into the heart of Soho and endemic police corruption and featured a script that could cut diamonds. In turns both funny and moving it was virtually impossible to keep tabs on all the references that peppered the dialogue. But why bother even trying? Just sit back and enjoy the ride in the knowledge that the cops aren’t going to pull you over for not wearing a seatbelt and won’t bang you up for sporting a mullet. Folks, good times are here again.

It’s time to roll those jacket sleeves up, loosen that leather pencil tie and whack some Dire Straits onto the tape deck.

Welcome back to the Eighties.

Home at last!

When Heroes Grow Old

Heroes Unmasked was of double interest to me last night as not only did it preview the season finale of Heroes (due for UK broadcast next week) but also focused on Wendy and Lisa, the delicious duo who long ago were musical compadres of Prince and now score all of the incidental and theme music for Heroes.

I’ve long been a fan – from the early Revolution days, through Purple Rain and Prince’s purple patches and finally during their last incarnation as independent pop duo “Wendy & Lisa”. If I’m honest I still play their solo (duo?) albums on my MP3 player but then I’ve always been an eighties head at heart anyway.

But enough about my confused biology...

As the narrator introduced the theme for the night’s analysis they kindly cut to a clip of Wendy and Lisa grooving their funk-thang on TOTP – early nineties by my reckoning – all gorgeously teased hair, cheekbones, curvy hips and tight bouncing tops... how they enticed the eye even as they pleasured the ear... my excitement was mounting.

And then we were presented with the lovely ladies as they are today.

I feel down-right mean for saying this but they looked old.

I mean they looked “old” – not just older. Maybe it was the appalling light in their studio but they didn’t appear to have aged well.

I apologise. I don’t know why. I just feel the need to. For making such an uncharitable observation. I feel I’m being somehow mean spirited and disloyal. And I’m being grossly unfair. Their heyday was 20 years ago for God’s sake – what did I expect? I ought to be proud that they’ve spurned the cosmetic surgery route and have decided to stay au naturale. To stay real. They always were “real women” – it was part of the attraction.

And – let’s be honest – I’m no spring chicken myself. More like a leathery turkey. Old age is already digging its gnarled claws into my once plump and youthful flesh. I’m getting white hair all over the place these days (but enough about my bizarre biology)... Minor cuts are taking longer to heal... I’m grinding my teeth when I sleep... I go all sentimental when I hear Bing Crosby’s “White Christmas”...

It’s surely a case of the pot calling the kettle black?

And despite the wrinkles, despite the jowls, Wendy and Lisa have still got it for me. The old (no pun intended) spark is still there. So we wouldn’t go out partying anymore – what does it matter? So Wendy wouldn’t tease my bod with her quirky guitar licks – so what? There’s nothing wrong with a nice frappuccino in a quiet, downtown coffee house. And bowls, so I’ve been led to believe, is a fabulous sport. Hell, I may even enjoy a bus tour to an Andrew Lloyd Webber musical...!

Sigh. So it’s come to this: Wendy and Lisa have mutated in my mind from teen-hood fantasy girlfriends into imaginary aunties...

*Shrugs*

But if that’s how the cookies crumble, I guess I’ve just got to embrace it and move with the times... (now where did I put my pension book?)

TV In A Coma (I Know, I Know It’s Serious)

As any cable subscriber will tell you television reception can be, at times, akin to a half shaken Etch A Sketch – a frozen mosaic of tiny squares with accompanying aural effects that sound remarkably close to Colonel Bogey being played under water by an asthmatic tuba lover.

Not so much oompah oompah as plain old bah.

This doesn’t happen often (t’otherwise nobody would pay for a cable service, would they?) but round where I live one sudden shock of cold weather is enough to make Virgin Media’s cable technology huddle up in a foetal position and refuse to play technological ball.

I’m sure Mr Branson would blame other adverse catalysts such as high tech mismatches of information packets and misdirected routings of fibre optic data but between you and me: it’s the cold. A bit of frost and News 24 resembles a kid’s finger painting. I’m so glad I invested in a widescreen TV.

Such a denial of service occurred on Sunday. No kid’s telly. No Dave. No UKLiving. No Catchup TV. Nothing.

Things looked glum for all of ten minutes.

And then we rediscovered the various and multifarious delights of (a) silence (b) music and (c) books.

It was amazing. Without the TV cracking its whip the day opened up into vast pastures of possibility. Suddenly time itself seemed to expand and cast off the shackles of enforced half hour slots of no-brainer entertainment. The day was pregnant with opportunity.

It made me realize how television – for all it can be a marvellous educational aid – also prevents you from thinking ‘outside the box’ (if you’ll pardon the pun). As soon as it is switched on the day seems to be mapped out and segmented according to what the various TV channels are broadcasting. You totally forget the many other home comforts that are available to enhance your living experience.

For most of Sunday we enjoyed a little quiet island of TV-less bliss.

Thanks to the efforts of the Virgin Media engineers the TV returned to life at the end of the day all mended and functioning normally... but, I have to say, looking a little bit nervous. A little bit insecure around the edges.

You see, we hadn’t missed it. We’d coped. We’d realized we could survive without it.

There was a New World Order.

The seeds of a comfortable rebellion have been sown...

Words Or Music?

I’m not sure where this post has come from but whilst pottering around the house over the weekend I had a sudden flashback to a Manic Street Preachers' gig I attended about a decade ago. Back when I was cool ‘n’ hip ‘n’ energized enough to actually go out in the evening and pay to watch live music being performed.

I was at the bar soaking up the pre-gig atmosphere, feeling a bit like I was too old (already) to be patronizing this kind of gig-going malarkey when my annoyance with my fellow gig-goers reached an all time high.

Now, you don’t need to know much about the Manic Street Preachers – just that that one of their songs (Design For Life) featured the refrain “We don’t talk about love / We only want to get drunk”.

It’s a painful, sorrowful protestation of working class chauvinism – an expression of the tragedy of men whose emotions have been stunted by class ethics and their upbringing. It’s a truly sad song.

And this synopsis is pretty evident from the lyrics, I think.

And yet.

And yet there were a little gang of meatheads at the bar – tanked up on cheap cider served in plastic tumblers – who were swaying arm-in-arm football terrace style singing the above lyrics like it was a glorious celebration.

“We don’t talk about love / We only want to get drunk!”

The sneer on my face held back an avalanche of bile. I didn’t order a drink. I turned around and left them to it. It spoiled the night for me. And the song. I can’t listen to it now without being reminded of the utter stupidity of those buffoons at the bar. So stupid that they couldn’t even see that they were the ones the tragedy of the song was addressing.

But maybe my problem is one of snobbery? I love words – poetry, lyrics, prose. I’m happy to analyse and mull it all over; make connections, be inspired. For me the words are easily as important – if not more important sometimes – than the music. Don’t get me wrong. I love a good tune, a beautiful melody. But I like it to mean something. I like the lyrics to speak to me, to connect with me.

Not everybody is like that. For some people the lyrics to a song are just a handy way to commit the tune to memory; a way to get a handle on the song’s internal timing so that it can be sung along to. A bit of nut and boltery. A few la-la-la’s strung together to augment the chord changes of the guitars or the synths. The last thing they want to do is to have to think about the issues the song might be exploring. To feel challenged and have their consciences prodded.

I guess everybody is different and I need to accept that. I need to stifle the grimaces when some idiot misinterprets, or worse, dismisses the lyrics of songs that I love. As long as my life is enriched why should I care about theirs? It’s not my responsibility.

But what about you? Do you like the lyrics to be pregnant with meaning or are you happy just be-bopping yourself into oblivion on the disco floor?

Confess. I promise not to judge.

Most Embarrassing Record

In a move that will probably prove to be as unwise as John McCain choosing Sarah Palin as his running mate and simultaneously start the blog world’s most shortest lived meme I hereby pose the challenge:

Name your most embarrassing record / CD ever!

You know the kind of thing.

You were young / old. You were feeling impetuous / temporarily insane. You had the money spare and you just thought, “What the hell, Shakin’ Stevens has never looked so good...” and before you knew what you were doing you’d done the deed; you’d bought IT – the single or album that for a short while was a guilty pleasure and then with the passing of time just became a source of unpleasurable guilt. The record that you store secretly in a separate place from the rest of your collection just in case visiting hands chance upon it in the midst of your other far cooler musical acquisitions.

The record that will lose you friends, family, hairdressers and influence people in a bad way.

Ahem. OK. Deep breath.

Mine is “Wired For Sound” by Cliff Richard.

I know. I know. I feel like upping the challenge a bit more and yelling, “Yeah! Beat that!”

Let’s get one thing straight. I hate Cliff Richard. I loathe the man. And I am at pains to point this out to absolutely everyone that I meet. Every time I see his sanctimonious, tea-stained leather face staring up at me from a magazine or newspaper I just want to vomit. And as for his singing voice... that “Oh I’m so sincere” warble makes me want to gouge a hole in space and time and chuck him into it.

But “Wired For Sound” in my opinion is a great record. What can I say? It’s a really catchy melody. It’s got great hooks littered all over the place. It wasn’t written by Cliff. Maybe this explains it?

And can I just add that liking the record does not mean I enjoy watching the video. The video – Cliff gliding around on sparkly roller-skates like a terrified geriatric tied to a conveyor belt of death is not the stuff that great music videos are made of. I hoot with vicious laughter every time I see it.

But I do have the song on my MP3 player. And I have been known to listen to it whilst pootling my way around town.

OK. It’s done. Hate me if you must. Revile me if you can but the gauntlet is thrown down.

I now challenge Inchy, Rol, Tris, Reluctant Blogger, Brother Tobias and The Sagitarian to name their most embarrassing record of all time. Usual meme rules apply: pass it on, let other victims know they’ve been tagged and then wash your dirty musical laundry in public.

Go on. You know you want to.

Butter Wouldn’t Melt

I can’t profess to ever having been a huge fan of punk, preferring myself the hippy undertones of Kate Bush or the soft pop synth sound of New Wave but I knew who John Lydon was and held a grudging respect – even amusement – for the man and his outrageous anarchist antics.

I still have fond memories of him flicking his V’s at the camera nearly a decade later on Saturday Superstore or Going Live or whatever woolly-jumpered guff the BBC was putting out on a Saturday morning back then. Cue pouts of outrage from Mike Read and Sarah Greene – how dare he besmirch our jolly kid’s show with his dirty punk fingers!

Meanwhile my sister and I were laughing ourselves silly like a couple of drains. It was almost as good as the legendary Five Star phone-in where an enterprising little potty mouth managed to slip through the BBC’s “real teen” censors and introduced kid’s telly to some rather choice four letter words. It was a remarkably succinct music review that has never ever been bettered in my opinion.

But I digress. John Lydon / Johnny Rotten was a somebody. He stood for something. He was spiky, dangerous and uncompromising. Values held in high esteem by any burgeoning teen / young adult.

So it’s depressing to note then that dear ol’ John has sold his anti-establishment ethos down the river in order to endorse / sell / promote Country Life Butter on our televisions. John loves Country Life Butter, you see, because “it’s British”. Cue clips of red buses, Morris Dancers and John himself in a nice tweed jacket sinking a large brandy in an old fart’s gentleman’s club. For a minute I thought I was watching the trailer for the next Austin Powers movie (John Lydon as Austin Powers: now there’s an interesting concept).

I realize Country Life are hoping to get themselves a bit of an edge by employing our John to hawk their wares in the Corrie ad breaks but to my mind it doesn’t really work. It doesn’t make me want to go out and buy a slab of Country Life Butter. It makes me want to hurl abuse at the TV screen. It makes me want to flick my V’s right into John Lydon’s pasty lily-white face.

John what the hell are you doing? Surely your mortgage is paid by now? Why?

It’s one thing to be a national character...

Quite another thing entirely to be a national caricature.

A Good Walk Ruined

So the sun is shining, it’s 30+ outside and I’m taking a walk through Victoria Park as I have done nearly every lunch hour for the last three weeks – just me, my sandwiches and my MP3 player – and I’m kind of at peace with the world.

You know, lush tunes, warm feelings, glorious sunshine... for half an hour at least all seems to be right with the world.

And then I spy two kids lamping the hell out of each other across the other side of the park. And I mean really going for it. Fists, feet, head-locks, the works.

This is souring in itself – I mean it’s not pleasant to watch two 11 years olds knocking seven bells out of each other – but what makes it ineffably worse is that they are plainly in the company of three adults who are standing by and watching it all unfold. And by watching I mean watching like they’re an audience at a kick-boxing match.

One of the kids goes down with the other one on top of him still pummelling away. I’m quite sickened by this point and am glad to see one of the adults – the male – finally getting up and going over to them.

Only he doesn’t stop them fighting. He separates them, apparently gives them advice on fighting fairly and then lets them set to once more. Round two – ding ding.

I’m astounded.

What parent / guardian would let their kids slug it out in this way? Surely you’d stop them? Give them a stiff talking to and send them away separately to cool off? Not make it a spectator sport!

Oh but of course, Mr Referee was instilling the values of fighting fair into them. Establishing a chivalrous code of gentlemanly conduct and rules of engagement. No knives, pistols, house bricks or eye gouging, please gentlemen. I want a fair fight. Queensbury rules. May the best man win. Loser to crawl off and die somewhere quietly without crying like a big baby.

That this guy’s two female companions could sit complacently by, sunning their shoulders and chatting about handbags while The Gangs Of New York was playing out before them just makes me shudder. I was really disgusted by the whole thing. Not even the velvety vocals of Wendy & Lisa could restore my happy equilibrium after this little interlude.

I trudged back to work feeling sullied (and not in a good way).

Parents? Some kids do ‘ave ‘em.

Slipped Discs

In response to a tag from Old Cheeser I’ve been invited to share with you the ten albums that I just could not live without. The ones that saw me through the drink and drugs hell of my teenage years (I couldn’t get any for love nor money). The ones that helped patch up my achey-breaky heart (please note this post will be a Billy Ray Cyrus free zone). The ones that, joking aside, continue to inspire me, lift me and make the world seem a much better place when I listen to them.

Fire up the Quattro, guys, welcome back to the eighties!

In no particular order:

1. Killing Joke – Brighter Than A Thousand Suns.

I’ve been a long time fan of KJ, right from the occult inspired punk furore of their early releases through to the metal-esque tribal moshes of their more recent output. And yet I’ve never ever considered myself to be a metal-head. In truth I abhor heavy metal and all it stands for... Neanderthal, beer fuelled, sex obsessed, unintelligent music for spotty boys who cannot get girlfriends. Instead I’ve always leaned towards sensitive, well crafted, texturally layered music for young men who cannot capture the love interest of a beautiful gal. But KJ were the exception. There was intelligence behind the anger, a furious need to push back the boundaries, to confront everything. “Revelations” is probably the ultimate KJ album – it captures the KJ sound with a dirty purity never before or since achieved but because of that it is probably quite inaccessible to most outside listeners. Odd then that I choose “Brighter Than A Thousand Suns” as this is probably their most accessible album to date and I’m sure many KJ puritans see it as a skeleton in the KJ cupboard. Critics at the time cursed it with the moniker Adult Oriented Rock. This does it a huge disservice. Oh I’m sure fans of KJ’s early punk forays were pulling out their spiked hair at Jaz Coleman’s beautifully honed vocals, the sustained chord changes, the orchestral sweep of much of the album’s content... it is after all a truly beautiful album. And this is not what KJ are supposed to be about. But the anger is still there. The occult paranoia. The conviction that the world is about to end imminently and enjoyably. The fire still burns but not now in an uncontrolled blaze... instead it has been sculpted into something truly majestic. “Chessboards” even today fills me with heart pumping exhilaration and “Goodbye To The Village” is a perfect anthem for the fight against global warming and world-wide corporate expansion. I still dig this album out on a regular basis and wallow in its unadulterated glory. Point of note: it was the amazing lyrics of this album that first got me into writing poetry.

2. Kate Bush – This Woman’s Work

What can I say about Kate Bush that hasn’t already been said? Everybody should own at least one Kate Bush album. Personally I’m the proud owner of just about every 7” single she’s ever released and have all her albums neatly lined up in chronological order on my record shelf. Everybody raves about “Hounds Of Love” and it IS a fabulous album but for me she hit her peak with “This Woman’s Work”. Lush and layered with rich depths – not unlike the woman herself – this album is amazingly evocative and emotive. “The Fog” is my all time favourite track though it is overlooked by many. Strings that catch the heart and a simple metaphor about learning to swim and letting people go all combine to get me watery eyed and blissful. The sustained emotional drive of this album is very powerful and purely feminine whereas “Hounds Of Love” has an inexplicable male energy to it – not that that’s a bad thing. “This Woman’s Work” is Kate Bush at her most complete and accomplished. It’s never been bettered.

3. Fields Of The Nephilim – Dawnrazor

OK. I admit it. I was a goth at heart. I even bought myself boots and a cowboy hat to see the Neph’s play at Birmingham Powerhouse in the mid to late eighties. This album owes more to Ennio Morricone than to true goth-dom however – full of howling wind and the ker-chink ker-chink of metal spurs. You can practically see the dust bowls rolling down the dusty street at high noon. “Volcane (Mr Jealousy Has Returned)” sees Carl McCoy’s thunder-bass vocals put to good effect with the catchy refrain “yer-hee yer-hee yer-hee”. Lyrically it’s a ridiculous album but something about the sidewinder guitars and the spaghetti western ambience just works for me. It makes me smile with fondness every time I listen to it. You gonna reach for those irons or just stand there whistling Dixie?

4. Breathless – Between Happiness And Heartache

I don’t actually know much about Breathless. I was given a copy of this album on cassette by a penfriend and fell in love with it immediately. It’s all ‘sensitive poetry boy’ kind of stuff but packaged up in jangly guitars and marvellously throaty vocals. Music to listen to when you’re reminiscing about a relationship break-up that no longer upsets you... when any upset you do feel is purely a luxury and a pleasure. This is an album of emotional indulgence for me. It’s a humble album in many ways and I doubt many people will have heard of it... but that all adds to the sense of intimacy I feel when I listen to it.

5. Danielle Dax – Jesus Egg That Wept

Danielle Dax is something of a curio and an enigma in the world of music – never quite crossing over into the mainstream despite many efforts to do so... and yet I bet most of you would recognize “Big Hollow Man” or “White Knuckle Ride” if you heard them. However, “Jesus Egg That Wept” was apparently recorded on a humble four-track before she got a major record deal and captures a rough and ready sound that is both unpolished and rawly energized. Danielle’s vocals aren’t for everybody – dipping to monster baritone and then rising to eyelash flickering angel all in the space of a heartbeat. Standout tracks here are “Hammerheads” – a nursery rhyme diatribe against the male ego and “Evil Honky Stomp” which begins with the memorable line “Up at the big house they’re branding niggers...” There was something both disarmingly charming and ineffably dangerous about Ms Dax. It’s a shame she wasn’t bigger as she would have been the perfect antidote to the Stock Aitkin and Waterman malaise that was to infect the UK music industry in the nineties.

6. Propaganda – P-Machinery

Ah Claudia Brucken and her fabulously sexy German nose! Propaganda delivered – with the help of Trevor Horn – one of the most perfectly polished and lush albums of the eighties. “Duel”, “Dr. Mabusa” and the title track all stand out as immaculate examples of synth driven eighties pop. My personal favourite is “The Murder Of Love” which features Claudia’s sexily Teutonic vocals put to good effect as she convicts a love-rat to some terrible fate. Sadly Propaganda’s follow up album was a huge disappointment - mostly because the wonderful Claudia had left (I think) to pursue a solo career that was just as equally disappointing. Alas we shall not see the like of her nose again. It made her look like an exotic bird woman. An eagle faced Valkyrie. Coupled with her cold Germanic demeanour and a fetish for outfits made out of metal lattice work... well, let’s just say she launched a few fantasies from the closeted comfort of my adolescent bedroom.

7. Wendy and Lisa – Eroica

Talking of adolescent fantasies, I’m a huge fan of Wendy and Lisa. Most people will know them as being members of Prince’s original backing band, The Revolution. When Prince disbanded the Revolution in the late eighties he lost, in my opinion, much of the beauty and the oddly delicate touches of much of his sound. He descended into self indulgent soul-funk and I bailed out of the whole Prince ‘thang’ when he released the God-awful “Graffiti Bridge”. Wendy and Lisa, however, decided to form a duo and go it alone together. If that makes sense. They released 3 superb albums here in the UK and developed a robust and respectable following... but alas they just couldn’t quite hit the big time which is a great shame. “Eroica” is their most accomplished album and features some gorgeous classics – “Mother Of Pearl” would have been an immediate smash hit if someone at their record company had had the brains to release it as a single and “Valley Vista” for some reason makes me melt at the knees. My God did I have a thing for Wendy when I was growing up. Sigh. Anyway, enough of my teenage bedroom daydreams – Wendy and Lisa are still plugging away at the music scene though have diversified into atmospheric and aurally textured sound worlds. Those of you that watch Heroes will know that Wendy and Lisa supply the incidental music and the theme. It’s far removed from the groovy-disco-pop-funk tracks that they were producing in the eighties. As a critic at the time memorably wrote – some people make music for people to dance to; Wendy and Lisa make music that dances.

8. XTC – Skylarking

As with Kate Bush everybody should own at least one XTC record. And as with Kate Bush I’m the proud owner of much of their vinyl output. I could have picked any one of XTC’s marvellous albums to grace this list: “Black Sea” with the classics “Sgt Rock” and “Generals And Majors”; “English Settlement” with “Senses Working Overtime” (possibly the greatest pop single ever) or even one of their later offerings, “Oranges And Lemons” with the heartily clever “Mayor Of Simpleton” and “Poor Skeleton Steps Out”. “Skylarking” however is the one that brought XTC some kudos and success in America thanks to the track “Dear God” (which initially didn’t appear on the UK release, pop-pickers). “Dear God” was a woeful lament about the state of the world and a loss of faith set against an almost medieval sounding acoustic guitar. Allegedly some disgruntled student in America forced his Uni radio station to play the track over and over again at gun point. But “Skylarking”, I have to say, is hardly a reactionary’s dream. It’s a warm, languorous, fun, ultimately English summer cocktail of an album that is best played outside when the sun is low and the barbeque is high and the beer is cold. If “Mermaid Smiled” doesn’t make you grin then your heart needs to be thrown onto the barbie to warm it up. Pop pure and simple, unpretentious and divine.

9. Siouxsie & the Banshees – Twice Upon A Time

It’s probably a cheat to have a compilation album on here but I don’t care. I love this album. “Swimming Horses” is hauntingly beautiful and is possibly my favourite Siouxsie track of all time followed closely by “Song From The Edge Of The World” which alas doesn’t appear here and “Dazzle” which does. The musical output of Siouxsie & the Banshees was an odd mix of experimentation and fixedness. No matter how avant garde they tried to be they only ever sounded like themselves. The reason for this I’m sure lies in Siouxsie Sioux’s distinctive vocals. Both a curse and a gift. Personally I’d veer toward the latter. What can you say about Siouxsie? Formidable. Intelligent. Uncompromising. Passionate. Individual. Wonderful. A must have.

10. Bjork – Debut

I was on holiday in Canterbury when I first bought this and initially bought it on cassette so I could listen to it on my Walkman. I didn’t take it out again for the entire summer. “Debut” caught a charm, a knowing naivety, a gentrified naughtiness about Bjork that was never quite seen again in her follow up albums. “Venus As A Boy” is, of course, the stand out single – the video made frying eggs seem somehow incredibly sexy – but “Come To Me” is by way and afar my favourite track from the album. A warm, bath towel hug of a song, you can almost feel Bjork’s arms around you, holding you close as she croons / breathes the vocals intimately into your ear. Ah if only. How perfect Canterbury would have seemed if that had really happened! Instead I had to make do with Bjork on my Walkman and a collection of Roger McGough poems in my hand. An odd mix to be sure but it worked for me. And all of Bjork’s mispronunciations have never seemed so cute! Ah Bjork. How do you like your eggs in the morning? Oh. Fried. OK... do you want a sausage with that?

There you go folks, my top ten albums as picked today. Trouble is tomorrow I dare say I could easily give you a different ten. And a different ten the day after that. I’ve missed out loads but a top hundred would be totally impractical. Right I’m off for my lunch. May have to delve into some of these on the old MP3 player. Technology may have changed but my taste in music hasn’t. I guess I’ll always be an eighties boy at heart!

Ecstasy

Ashes To Ashes made my night in a number of ways last night.

1) It featured XTC’s “Sergeant Rock”. A track that took me straight back to my school days and swapping football stickers in the playground.

2) It featured Killing Joke’s “Turn To Red” – a track from their little known first ever EP, released before they’d even been signed up by Malicious Damage records. You’d have to be a diehard fan to spot it. I am that fan.

3) DS Ray Carling, a man even more homophobic and chauvinistic than Gene Hunt himself, had to infiltrate a gay night club posing as a homosexual to get close to a target. He looks like a Village People reject at the best of times anyway and blended in remarkably well. He even looked to be enjoying himself until sweet nothings were whispered in his ear. His smile dropped faster than a nympho’s knickers at a swinger’s convention and the fists flew wild and hard. He looked like a rabbit caught between the headlights of a fast moving car. Hilarious.

4) Gene Hunt. Ploughing mercilessly through every single euphemism for anal sex and homosexuality known to man with a straight face (well, what else would he have) and his team laughing along with him... until an after footie match celebration of hugging and male bonding at their local boozer was cut abruptly short by DI Drake wondering if they were all closet homosexuals themselves. You sunk my battleship indeed. Anything that blasts homophobia and football clean out of the water is absolutely fine by me...

5) Keeley Hawes just because. But mostly because of the red, off-the-shoulder top that was so flimsy it accentuated every movement and jiggle underneath it. Officer I’ve been a naughty boy and need to be taken into police custody immediately. I may have to be restrained and frisked. Please, please don’t go easy on me...

Sheer ecstasy.

Snooker Loopy Nuts

I’m loving Ashes To Ashes.

I’m loving the music – Visage, OMD, Vangelis – though I’m a little perturbed by how many of these quintessential eighties tracks I still play regularly on my MP3 player. Stuck in a time warp? Who me? (Have I gone back in time? Am I in a coma? Am I insane? Etc, etc...)

I’m loving Gene Hunt’s interrogation techniques – pin your chosen scrote down across a snooker table, spread his legs, line up your cue and slam the pink into the top corner pocket.

Pot black indeed.

I’m loving the clothes and the make-up – white jackets, red and black colour combos, hair swept back on one side, Siouxsie Sioux eyeliner.

But most of all I’m loving Keeley Hawes as DI Drake.

The woman seems to be constantly drunk. Not that she’s a hard ligging boozer or anything; she’s just totally intoxicated by her circumstances...

Unlike Sam Tyler who experienced his time in the 1970’s as a bad trip – all paranoia, angst and the fear – Drake is living her time in the 1980’s as a lucid dream. Her ethos seems to be, as this is all happening inside my head I can do whatever the hell I like.

The result is interesting. It gives her character a tragic-positive spin as she flirts not just with those around her but also with the entire eighties construct that her mind has created whilst retaining an awareness of how badly some of the events she is now reliving actually turn out.

It gives the show a far lighter touch while at the same time allowing it to probe deeply into the blacknesses that lurk on the edges of Drake’s psyche – the death of her cold, calculating, career minded mother for one thing. Drake’s childhood was obviously very dark and I think a few more ghosts are going to come out of the woodwork before the series ends to challenge her glib responses to her predicament.

Yes, in relation to Life On Mars, Ashes To Ashes, is undoubtedly formulaic but to my mind it’s a formula that works. Ashes To Ashes is essentially a mirror to Life On Mars – its missing, long lost twin – with Gene Hunt acting as the bridge between the two. DI Drake is the yang to Sam Tyler’s Yin. The light to his dark. The female aspect to his male.

Quite where Gene Hunt fits into this faux Eastern philosophy I don’t know.

I’m just hoping that DI Drake has the good sense not to challenge him to a game of bar billiards after work...

A Nice Drop Of Bolly

Ashes To Ashes didn’t disappoint. Not at all.

If anything it hit the ground running with its shoulder pads glistening in the eighties sunshine. Not unlike Keeley Hawes’ character, DI Drake, in fact. She was sussed, analytical, self aware and responded with breathtaking intelligence to her predicament.

She was also as foxy as hell. As one of Gene Hunt’s sidekicks, Ray Carling, so eloquently put it: she’s got an amazing pair of puppies.

To be fair this comment was provoked somewhat by the fact she’d made her grand entrance into 1981 dressed as a high class hooker. A sure-fire way to grab everyone’s attention. I must admit I found myself wondering if this guise was a cheeky play on Keeley’s name – Keeley Hawes.

Geddit?

Sorry. Couldn’t resist.

Anyway, I admit I had reservations regarding Ashes To Ashes. Life On Mars was such an amazing show that I couldn’t help but feel that any spin-off would be at best second rate and a cheap, easy-write tie-in to boot. So it was really great to discern that Ashes To Ashes has enough strength and power of its own to stand on its own two feet and give Life On Mars a bloody good run for its money. There’s a different feel and look to the show – not just because of the eighties mis-en-scene – but also embedded in the writing itself. The style is lighter and more humorous though without any loss of depth. The dialogue is sharp and slick. The action has substituted a little of the stodgy 70’s grit with an injection of eighties gloss and glitter. And the music... ah the music is wonderful. This was my era. It feels like coming home.

Just hearing The Passions’ I’m In Love With A German Film Star sent shivers down my spine. Dedicated readers of this blog will know how much I adore this track...

Philip Glenister as Gene Hunt is brilliant. Brooding, uncool yet cool, flippant, sexist, bullish and the most quotable cop on TV since, well, since John Thaw in The Sweeney. But there’s a softer side to him now too. He’s more aware of himself. Aware of the constraints that his police force now operate under. There’s a caring side to balance out the tit-grabbing misogynist – the scene where he puts a blanket over the sleeping Drake was a nice touch.

The references to Sam Tyler from Life On Mars are intriguing too and up the mystique. Apparently after 7 years with Hunt’s team he died... but no body was ever found. This leaves us to speculate pleasurably on his whereabouts – has he died, passed over, moved on to somewhere else? Who knows? It’s just nice to wonder.

Mostly though Ashes To Ashes works so well and so boldly because of Keeley Hawes’ canny portrayal of DI Drake. She’s not as confused or as lost as Sam. She’s sussed. She’s quick and intelligent. Razor sharp in fact. She knows exactly where she is and has some idea of what she needs to do to get herself out of it. Her continual wry analysis of her predicament, far from lumbering us with a tedious, unnecessary narrative, actually lends the show a witty, incisive underpinning. It also adds a fabulous fire and panache to her interactions with the dour Gene Hunt (who is self aware and wry in a different way).

In fact the relationship between Drake and Hunt is the real star of the show. Mutual attraction and revulsion is equal measure. Sparks and spit flying with every word and look. Marvellous. Full of potential and great to watch. I’m not sure who is going to hit who first.

Bliss.

I’ve a feeling that the further adventure of Gene Hunt and “Bollinger Knickers” are going to become essential viewing over the next few weeks. I’m breaking out the shoulder pads already...

Eighties

Sunday’s post – plus a belated fascination with YouTube – has made me review and analyse my music choices.

I’ll admit that at heart I’m an Eighties boy through and through and the result of a misspent youth during this period is a humungous record collection that covers everything from ABC to XTC. I suspect my love affair with Eighties music comes from the fact that this was the era of my “formative years” – I can recall my parents talking of the Sixties with much the same level of reverence and sentiment. And certainly although I loathed Wham and Bananarama at the time I now look back on them with a mawkish fondness and a realization that actually they were pretty damn good... though maybe that says more about my disenchantment with the current music scene.

Hmm. Maybe disenchantment is a bit strong, I mean I’m still buying new music – The Editors, Gnarls Barkely, The Doves, etc – but I’m very aware that the amount of money I invest in music these days is a pitiful fraction of the moolah that I used to throw into my vinyl collection. And that isn’t just down to fraught economics.

Christ. It’s a scary thought but somewhere along the lines my love affair with the music scene has diminished and stalled. Become trapped in a musical time-warp. The Enchanted Forest Of The Eighties.

But it’s an enchantment that makes me happy for the most part. On my work journey I’m more likely to select some vintage Kate Bush or some early Eighties Killing Joke (dependent on my mood) to pep me up for the day ahead rather than anything produced in the new millennium. It floats my boat so what’s the problem?

I do worry though that I’m giving my boy a slightly skewed musical world view by immersing him in bands like The Cocteau Twins and The Pretenders rather than their more modern counterparts but I guess as he gets older he’ll find his own musical path.

An ex girlfriend of mine absolutely hated Eighties music – now if that wasn’t a sign of impending doom I don’t know what was – her argument being that she hated the production values. That’s a pretty fundamental objection when you think about it. Part of what I like about Eighties music is “the sound”. I love the lushness and polish of some of it. Trevor Horn’s stuff certainly stands out a mile.

Ultimately though it’s interesting to note that the Eighties are enjoying something of a revival – so many bands now are emulating (consciously or otherwise) the Eighties look and sound. So much so I feel like the world is entering the Enchantment Forest with me. I’m sure it’ll be short-lived as all fads are. But when everyone else has moved on again I suspect I’ll still be here.

Skipping through Strawberry Switchblades, up to my neck in The Stranglers and wailing along to The Banshees...

Echo Beach And The Passions

It's not very often that I sling videos around on this 'ere blog but I am feeling particularly lazy today. All claims of indolence aside though, isn't this just one of the best records of all time? It still sounds good even today. Enjoy.



A little belated addendum to the above post... a timely comment from TimeWarden has reminded me of another superb record from the early eighties - and one that still sends me into shivers of delight. The Passions' "I'm In Love With A German Film Star" is that rare thing in a pop record these days: evocative, aspiring and perfect. Listen, watch and swoon...

Birthday Boy

Yesterday saw yours truly hit the ripe old age of 38.

Yes. I know. You’re all reeling in shock. “38!” I hear you cry. “But how can that be when your writing is always so youthful and (what’s the word you kids use?) rad?”

Well, it’s time to come clean. I’m a 69 boy and proud of it.

Erm. Let me rephrase that. I was born in the year 1969 and am proud of it. I’m proud to have cut my teeth (quite literally) in the space age. I’m old enough to remember black and white TV that closed down for the night at 12 o’clock. I can recall glam rock, punk, New Wave, Shoe-gazing and grunge long before they all stepped up to the plate yet again in the 21st Century. I can remember Penny Chews and Rhubarb & Custard sweets. I chortled at Hong Kong Phooey and Top Cat. I guffawed at Rentaghost and Chorlton & The Wheelies. I fancied Daphne from Scooby-doo. And Cheryl Ladd from Charlie’s Angels.

And 30 odd years later nothing much has changed.

Well. Apart from the fact that my hair is turning grey and I become a grumpy old git when I hear what passes for music on the radio these days. Bah humbug. Who told that Calvin Harris chappie he could sing, eh?

Anyway, I had a terrific day – Karen and I both had the day off work and she treated me to a fabulous Thai meal in Stratford. I was also showered in gifts – the most notable being a beautiful 7.1 Megapixel camera which knocks the spots of my old one by miles. I was also overwhelmed to find the Life On Mars and Rome box sets among my birthday bounty along with Hot Fuzz and The Last King Of Scotland. I have some terrific viewing ahead of me. Karen’s done me proud (erm, let me rephrase that... er, oh yeah; I’ve done that joke, haven’t I?).

Karen also treated me to various stylish articles of clothing and a couple of survival handbooks by the god of nettle-tea and mushroom sticking plasters himself, Ray Mears. The accoutrements to my life are complete.

Global warming can bring it on.

I’m ready for it.

Princely Sums

News that Prince has “given away” his new album, Planet Earth, free with a UK National newspaper this morning has created quite a stir in both the press and the music industry.

Although I can applaud the apparent sense of largesse behind the move – “giving music back to the fans” – I nevertheless agree with those who think that the strategy is ill conceived and ill thought out.

I’m sure much of Prince’s real motivation is a huge desire to cheese-off all those music industry bigwigs and fat cats who have leeched off him and other artists over the years, hampered his creativity and degraded the art form by dunging it about with the cursed accoutrements of business and commerce. I can well sympathise.

Except that it’s not the fat cats who’ll suffer from the eventual disappearance of the high street music store that this move seems to herald. It’s the shop workers, the stock buyers and all those ordinary people who work in the industry who’ll suffer the most. And these people have usually got into this line of work precisely because they are music fans. The very fans in fact that Prince wishes to lavish his generosity upon.

It’s fine for Prince. He evidently doesn’t need the money. He’s also big-egoed enough to cold-shoulder the inevitable “his album was so bad he had to give it away” jibes that will inevitably follow his recent bout of munificence.

But speaking as someone who’s brother-in-law has recently lost their job – without any kind of payment or compensation whatsoever – due to the collapse of the Fopp record store chain I agree with those who think that Prince’s album give-away is just a mighty kick in the teeth for those who have contributed to Prince’s material success over the past 4 decades.

If Prince wanted to show off his benevolence then why not give all the proceeds of the album sales to charity? Doesn’t it make better sense to make money for a good cause than to make no money whatsoever?

Preventing some company bigwig from buying yet another timeshare in the Algarve is one thing. Taking food of the table of an ordinary bloke in the high street is something else entirely.

Planet Earth?

Sigh, you’re damn right it is.

This Was NOT Acceptable In The 80s!

Has every DJ in the UK taken a kick-back from Calvin Harris’s record company?

No matter where I go, no matter when I turn the radio on I am plagued with “Acceptable In The 80s” – surely the most abominable recording since Maggie Thatcher’s “Where there is despair may we bring hope” speech in the late 70s.

Stupid lyrics. Stupid pitch-warped vocals. And a stupid fake reedy synth backdrop that sounds like it was composed on a Bontempi organ. Utter utter shite.

This would absolutely have NOT been acceptable in the 80s.

It even wouldn’t have been acceptable in the 90s and that’s saying something.

Calvin. You may have hugs and love for people born in the 80s but for those who experienced their teenage years during that period we have nothing for you but a rather stiff middle finger.

Swivel you wasock.