Tony Cozier

“And Greig is bowled, bowled by Holding for one”.

For some reason that one line of commentary from the Tony Cozier, who died last week, has stuck in the mind. It’s from the Oval test in the long hot summer of 1976, when England were completely outclassed by Clive Lloyd’s West Indies, and Michael Holding took 14 wickets on a pitch no other bowler on either side could do anything on. We were on a family holiday camping in the North York Moors, and followed the game through snatches of commentary on the radio in between other holiday things.

Tony Cozier was the West Indian voice on the BBC Radio Three commentary team, which in those days included the very English Brian Johnson and John Arlott.

Scyld Berry’s obituary in The Daily Telegraph sums him up well.

When radio commentary took off in the Caribbean in the 1960s, with cricket binding together the region like nothing else, Tony Cozier was the man. He steered exactly the right path between the dryness of traditional Australian commentary, which focused solely on the score and play, and richer if sometimes self-indulgent English commentary where cakes and buses mattered as much as the game.

Possibly because he was a voice on the radio rather than a face on the television, and spoke with a distinctive Barbadian accent, I had never realised until this week that Tony Cozier was white.

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The Stone Roses and Comebacks

The Guardian is not impressed with the new Stone Roses single, with Michael Hann suggesting that it is typical of disappointing comebacks. I did laugh at the comment that it sounded like Rainbow with Bryan Adams singing lead; whoever said that clearly doesn’t like Rainbow. Or Bryan Adams. On a first listen it reminded me of Beady Eye, only nowhere near as bad. That is probably damning it with faint praise, but you can listen to it yourself.

What I do take issue with is the idea that disappointing comebacks are the default. Michael Hann’s cherry-picked examples do not make it so. What about the thrilling re-emergence of King Crimson last year? Or if you want an indie band, how about Suede, whose career appeared to peter out a decade or so ago, only to return, older and wiser, to make their best music in years?

I suggest, much like the canard of the difficult second album, the disappointing comeback reflects the sorts of bands music journalists like to write about; the artists who sometimes capture the Zeitgeist but don’t necessarily have the staying power needed for a lengthy career. Whether The Stone Roses fall into that category is a matter for debate.

What comebacks have and haven’t impressed you? And what do you think of the Stone Roses single?

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Farewell to Banbury’s Semaphores

A few photos of Banbury, which despite being on a very busy main line still retains semaphore signalling controlled from two magnificent Great Western signalboxes. All this is due to be swept away in August when the whole area is resignalled. Here’s the North box, photographed from the end of the platform under the road bridge.

Banbury has unusual signalling in that the two main lines are fully signalled with modern multiple aspect colour light signalling, but the bay platforms and goods loops retain WR lower-quadrant semphores.

South Box is the smaller of the two, and it’s location makes it harder to get close-up photos. Passing it is freightliner’s 66552 on a lengthy engineers’s train, and some of the “Orange Army” engaged in preparatory work for the resignalling.

68010 at Banbury

One of Chiltern Trains’ locomotive-hauled push-pull trains, with 68010 propelling the train towards London Marylebone. Chiltern’s loco-hauled services began with EWS class 67s and refurbished former west coast main line Mk3 coaches. More recently brand new class 68s have replaced the 67s. These locomotives are the first mixed-traffic diesel locomotives to be delivered in Britain since the class 50s in 1967.

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Tilt announce pre-order for Hinterland

Tilt

Tilt, the band featuring Fish alumni Steve Vantsis, Dave Stewart and Robin Boult plus guitarist Paul Humphreys and singer P J Dourley have announced the pre-order for their album “Hinterland” via Burning Shed. The album also features John Beck and John Mitchell.

Steve Vantsis has been Fish’s main co-writer for the past few years, writing much of the nusiic for the albums Feast of Consequences and 13th Star.

Meanwhile, have a listen to the radio edit of the track Bloodline:

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Nick Cohen takes on the Right

Nick Cohen has long been a scourge of the regressive tendencies of the post-modern left, but with The English right’s Putinesque conspiracy theories he turns his guns on the equally regressive right.

Vote Leave is not a fringe organisation, like UK Against Water Fluoridation, or The Society for the Propagation of the Gospel in Foreign Parts. The Electoral Commission decided in its wisdom it was respectable enough to lead the official Brexit campaign. Whether it is Michael Gove or Boris Johnson, a Vote Leave politician will be the next leader of the Conservative Party one way or another, and hence our next Prime Minister. The darkness on the right of politics is about to cover the land, and it is worth peering into the murk before it descends.

The way they’re tried to bully ITV and Robert Peston threatening “consequences” once they’re in power is the sort of thing you expect from the rulers of a tinpot dictatorship, not from those who aspire to lead a major democracy.

Yet more confirmation that Boris Johnson’s persona as a lovable rogue is completely fake, and he’s actually a nasty thuggish little man. And it’s a reminder that the whole referendum debate that’s putting Britain’s future at stake is really a proxy war for the leadership of the conservative party.

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Happy St.Pancras Day, celebrated with either a Eurostar, a Peak or a Midland compound, depending on your preferred era.

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Salvation Jayne – Dahlia

The new video from the rather excellent Kent-based blues rockers.

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One Week To Go

Just one week to go now….

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Lead Guitar is Sexist?

I am a bad, bad person for posting these things from Real Peerreview. Though I choose to spare the author by not naming them or linking back to the originals.

This one reads like a nasty collision between academia’s Critical Theory and sort of terrible music journalism that gave the 1980s NME a bad name.

This paper critically examines the gendering of electric guitar technique in its limited scholarly reception. Focus is given to the work of Steve Waksman, specifically the “technophallus,” a coinage through which he engages feminist scholarship to interrogate the electric guitar’s masculine performative identity. This paper offers a counter-archive of punk guitarists whose work, when approached with a queer analytic, problematize the pairing of virtuosity with heteromasculinity. Synthesizing the work of José Esteban Muñoz and Jack Halberstam on queer failure and virtuosity, I offer disorienting guitar practice as a critical lens which can materialize efforts at refusing the linearity of guitar technique as well as guitar hero worship. Consideration is given to St. Vincent’s pairing of a disorienting virtuosity with her extension of the guitar’s sonic possibilities through effect pedals.

Let me get this right; lead guitar is sexist unless  you play it very badly. Or use a lot of effects. Or am I missing something?

OK, so I get that there’s a lot of coded sexism in genre snobbery. But surely the author is guilty of the exact same mistake, by using critical theory to suggest their taste in music is somehow morally superior?

It’s not even being iconoclastic in this day and age. Today’s focus group driven mainstream rock has largely pushed virtuoso guitar to the margins. Genres like blues-rock and power-metal that still celebrate virtuoso guitar are niche scenes nowadays.

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How many of those who pay eye-watering prices to see stadium tours by long past their prime heritage rock acts also think there’s been no good music since 1974?

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