The publication of the RAIB report for the  Froxfield incident and the beginning of the court case of the Wootton Bassett near-miss is a reminder that both indicents put 750 lives at risk. They threw the book at West Coast Railways and the driver of “Tangmere”. What action will be taken against Eddie Stobart and their driver?

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Resurrection Kings

Resurrection KingsResurrection Kings are a band put together by Frontiers Records around one-time Dio guitarist Craig Goldie and vocalist Chas West, who had worked with Foreigner amongst others. They’re rounded out with the addition of fellow Dio alumnus Vinnie Appice on drums and former Dokken and Quiet Riot bassist Sean McNabb.

The self-titled album is described as Whitesnake’s “1987″ mixed with Dio’s “Dream Evil” with a touch of classic Zeppelin and Rainbow. The reality is that the record cobbled together from a collection of demos by Goldie and West, and filled out with material written by one of Frontiers Records’ in-house songwriters falls well short of those illustrious touchstones.

Much of it is as formulaic as song titles like “Livin’ Out Loud”, “Fallin’ For You”, “Never Say Goodbye” or “Had Enough” would suggest. It’s all immaculately played and produced, has riffs and choruses in all the right places along with plenty of solos that sound like a whinnying horse being strangled. There’s nothing here you’d describe as unlistenable. But there is very little that really stands out, and in the end it all sounds much like what you’d expect from a supergroup made up of bit players from the stories of other far bigger stars. This is the sort of band you can imagine playing a mid-afternoon slot at a festival while you’re waiting for the acts you’d really come to see to appear.

Which is a shame, because Chas West has a great old-school hard rock voice of the sort you don’t hear enough of nowadays, and sounds as though he’d excel given stronger material. The occasional song, most notably “Who Do You Run To”, hints at the potential for something greater, with its brooding verse, the best hook on the album, and an imaginatively melodic instrumental break. But most of the time this is workmanlike record that fails to rise beyond generic 1980s hard rock by numbers; solid musicianship rather wasted on decidedly second-rate material.

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The British Railway Modernisation Plan

Preserved class 14 "Teddybear" on the Forest of Dean Railway

One of the most short-lived classes in BR service, the diesel-hydraulic class 14, seen preserved on the Forest of Dean Railway

There is a very interesting discussion (for given values of interesting) on the RMWeb forum about BR Modernisation Plan diesels.

As any student of British motive power knows, the early years of the nationalised British Railways saw large-scale building of new steam locomotives, including a whole range of new standard designs. Then in the late 1950s there was a crash programme of dieselisation in an attempt to stem increasing financial losses, followed by a drastic rationalisation of the size of the network in the shape of the Beeching cuts. Both those newly-built stream locomotives and many of the early diesels were scrapped after ridiculously short lives. The epitome of this was D601 “Active” spending years sitting in Woodham’s scrapyard in Wales surrounded by the rusting steam locomotives it was built to replace. What a waste of resources.

What was to stop British Railways adopting the policy of West Germany? They had a far earlier end to steam locomotive building, accompanied by a rolling programme of electrification and what was initially a partial dieselisation. The first diesels replaced the oldest life-expired steam power, with the surviving newer steam engines concentrated on those routes eventually scheduled for electrification. West Germany saw thus a slower and more gradual elimination of steam over a period of 25 years rather than a decade. The last steam ran into the mid-1970s by which time the locomotives had reached the end of their economic lives.

Class 24 at Grosmont

Tbe Derby/Sulzer class 24s were built in significant numbers yet withdrawn after less than 20 years.

The original 1955 modernisation plan envisaged a pilot scheme, whereby small numbers of locomotives would be ordered of a variety of different designs from different manufacturers, to be evaluated in traffic before placing large-scale repeat orders. That never happened. Such was the rush, perhaps motivated by a belief that government money must be spent now or it might not be available later, that BR placed repeat orders before they had time to complete any meaningful evaluation.

The least bad consequence was bulk orders of lumbering and obsolescent designs like the English Electric class 40, which at least had the advantage of working reliably. The worst was the ordering of more than a hundred Paxman-engined Clayton class 17s straight off the drawing board, which proved to be not fit for purpose.

The whole Type One saga is illuminating. The specification was for a single-cabbed locomotive with a power range of around 800hp to replace small tank locomotives on local freight working. The most mechanically reliable of the pilot scheme designs proved to be the English Electric class 20. But it was deemed unsuitable due to poor driver visibility when running hood-forward. What they wanted was a centre-cabbed locomotive in the vein of the German V100, but the combination of low hood and high cab proved impossible within the restrictive British loading gauge.

So they came up with centre-cabbed twin-engine design using railcar-style engines which became the ill-fated class 17. The reliability was so poor the whole lot went for scrap after a very short period and BR placed a repeat order for more class 20s. By the time those locomotives arrived, changing traffic patterns and Beeching’s branch line closures meant the original need for these low-power machines had evaporated. The 20s eventually found another niche working in pairs on coal traffic in the East Midlands, quite different work from that for which they were originally designed.

A lot of what went wrong was down to politics, both interference by government and internal within British Rail. There is the distinct impression that some business went to firms purely because they were based in areas with high unemployment. At the time each of British Rail’s regions had a lot of autonomy and all did their own thing. The Western Region famously chose diesel-hydraulic power rather than the electric transmissions preferred by everyone else, and got its own Pilot Scheme designs. The Southern Region rejected the Pilot Scheme altogether, came up with its own specification and ordered the class 33s from BRCW, which proved to be highly successful. One mystery was why there were no further orders of 33s for other regions, while Derby works were content to churn out vast numbers of underpowered class 25s.

It was the Type Two specification, double-cabbed locomotives in the 1100-1300 power range for secondary passenger and freight work which saw some of the real turkeys. You could even argue that the BRCW class 26 and 27s were the only unquestionably successful designs. The Metrovick Co-Bo class 28 suffered from the shockingly unreliable Crossley engines which had proved equally useless in the very similar A-class locomotives in Ireland. The class 21s demonstrated that North British, despite being one of the most successful steam locomotive builders, were nowhere near as adept at building diesels, a parallel with America’s Baldwin Locomotive Company. The class 23 “Baby Deltics” were English Electric’s one failure, needing complete rebuilds very early on. Even the numerous and eventually very long-lived Brush class 31s needed re-engining early in their lives after problems with the original Mirrlees power units.

Western at the NRM

One of the most iconic “non standard” designs withdrawn before their time, Swindon’s magnificent Western.

At the end of the 1960s British Rail found themselves with a surplus of motive power following Beeching’s heavy pruning of the network, and made the sensible decision to reduce the number of types in service by eliminating the unsuccessful and unreliable designs. The decision to phase out the Western Region’s entire fleet of diesel hydraulics as non-standard remains controversial to this day, since some of the locomotives such as the Hymeks and Westerns acquitted themselves well in service and were built in significant numbers. But few would question the cull of Type One and Type Two designs; even when teething troubles had been eliminated and the locomotives could be made to work reliably, classes like the Baby Deltics were too few in number to make economic sense to keep.

We’re lucky some of those unsuccessful early designs survived to make it into preservation. One of the Metrovick Co-Bos, now under restoration in Bury, spent many years as a carriage heating unit, while one Clayton class 17 has a lengthy post-BR career as a works shunter at Ribble Cement. There were sadly a couple that frustratingly got away despite surviving into the diesel preservation era. Pioneer diesel-hydraulic D601 languished at Barry only to be scrapped as late as 1980, and Baby Deltic D5901 lingered in departmental use and was only scrapped in 1976.

But despite the obvious waste of resources, it does mean British railway modellers have a far wider array of different locomotives to model.

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Jeremy Corbyn, a leader in search of a plot

When Jeremy Corbyn was elected as Labour leader I was prepared to give him a chance. Even if Labour fell short of becoming electable, they could at least move the Overton Window on economics by challenging not just George Osborne’s misguided austerity programme but the whole dubious premise of neo-liberal trickle-down dogma.

It’s something that The Liberal Democrats cannot do effectively because of the way they tied themselves to Osborne’s austerity politicies during the coalition.

Occasionally they do, and score some direct hits. But they spend too much time on subjects where they are dangerously wrong.

Former Labour pollster Deborah Mattinson warned that the party are heading for a heavy defeat under Corbyn, due to the fact that the public simply don’t trust him to govern. She was followed by columnist Owen Jones who, while much more supportive of Corbyn, warned that Labour must stop talking so much about foreign affairs and defence issues and concentrate instead on the sort of domestic issues which both party members and the public can rally around.

Within 24 hours the Labour leader was on the airwaves calling for unilateral disarmament and our negotiated surrender of the Falklands.

When even Owen Jones thinks you’re wrong, you’re wrong.

Corbyn gives the impression that the prime purpose of giving the Falklands to Argentina regardless of the wishes of the people who actually live there is to spite the ghost of Margaret Thatcher. While that might warm the hearts of the activist base, it’s not the sort of thing that will win over the hearts of the people who’s votes Labour need if they are to win an election.

Every time Corbyn opens his mouth on foreign or defence policy what comes out sounds like unreconstructed student activism from the 1970s. It’s not about making difficult judgement calls in a complex and dangerous world, it’s all about symbolic posturing.

Surely anyone over the age of thirty ought to know that the toytown politics of student unions isn’t fit for purpose in the real world?

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RIP Glenn Frey

The world of rock has lost another, Glenn Frey of The Eagles. Those of us whose musical heroes hit their peak in the early 70s are going to have a rough next few years. Guardian writer Dorian Lynskey remarked a few days ago that he expected a disproportionate amount of his music writing over the next decade will be obituaries. He’s not wrong.

Much like with Bowie I was never a huge Eagles fan; not even their definitive album “Hotel California” managed to find a place in my notoriously doughnut-shaped record collection. But like Bowie their music has always been part of the cultural furniture. One memory of their music was a friend at university, someone I’ve sadly long lost touch with. His first love was soul and funk, but The Eagles were the one rock band he adored. Though even then he said they got too heavy after Joe Walsh joined the band.

Unlike Bowie, The Eagles were never popular with the fashionable critics during their heyday. Their polished and professional sound meant they were dismissed as less authentic than the less successful West Coast bands who preceded them. Their laid-back West Coast sound was the antithesis of rock’n'roll, and of course the punks and new wavers hated them as they represented everything they were supposed to be rebelling against. But time is the ultimate critic, and The Eagles’ music has stood the test of time in a way many of their supposedly more worthy rivals has not.

My choice of song to attach to this post gives away the fact that I’m not a hardcore fan. It’s not even a song Glenn Frey had a big hand in writing. But it is their definitive song; the American equivalent of Led Zeppelin’s Stairway to Heaven in the rock canon. It’s a song I’ve seen covered by, of all people, Stolen Earth, and they did a killer version too.

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Jodie Marie – Trouble in Mind

Jodie Marie Trouble in MindAs any fan of the bands regularly covered on this site ought to know, there is a vast amount of excellent music that doesn’t have the benefit of major label publicity campaigns, and is the wrong genres to be covered by the fashionable media. Which means that many great records fly completely under the radar of everyone who doesn’t follow their particular scene.

Welsh singer-songwriter Jodie Marie is a typical example. I’ve already written about the bizarre way her début album appeared on the radar, but the album itself deserves a review, since it really is an excellent piece of work.

Trouble in Mind an immensely varied record, going from stripped-down intimate acoustic songs through guitar and organ led blues-rock to big band numbers featuring horn sections and gospel choirs. The sequencing is interesting, shifting between different moods across different parts of the album, beginning with several rootsy blues numbers, the middle of the album dominated by ballads, finishing with 70s-style rock numbers. It’s an unusual way of arranging an album, but the musical journey it takes you on actually works extremely well.

As a singer, Jodie Marie is a real talent, alternatively soulful and gutsy depending on the song. The album emphasises that; neither the horn arrangements nor Jimmy Brewer’s tastefully restrained lead guitar overwhelm the vocals.

With an LP-length running time of under forty minutes there’s no room for any filler, but there are plenty of highlights. There’s the funky lead single “Only One I’m Thinking Of”. The solo piano ballad “Reason to Believe” is a thing of beauty, and shows she is an accomplished pianist as well as a singer. Another standout is “For Your Love”, a slow-burning blues number featuring some excellent guitar from Daniel John Montagu Smith. The ballad “Everyone Makes Mistakes” and the rockier album closer “Later Than You Think”, both driven by Jodie’s electric piano, recall something of the feel of David Coverdale’s mid-70s album “Northwinds”, though of course the vocal style is quite different.

Trouble in Mind is precixely the sort of record which really deserves a far wider audience. It’s highly recommended for anyone who is more interested in great music by great musicians than contemporary fads and fashions.

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Aghast Afterglow – Imaging

Aghast Afterglow ImagingThe genre of symphonic goth-metal featuring classically-trained female vocalists is getting increasingly crowded these days. The latest addition to the scene is Italy’s Aghast Afterglow, who started as a duo comprising multi-instrumentalist Denny Di Motta and vocalist Lisa Lee, but have now expanded to become a full band.

The opening few numbers set the tone; first the musical box chimes leading into the brief power-metal instrumental “Fearless”, then the swirling kaleidoscopic “You’re Killing Me From Inside” and the full-on Goth of “Angels Can’t Love”. Like others without access to major label budgets for recording they manage without the massed choirs, orchestras and kitchen sinks, instead relying on layers of keys and a bigger role for the lead guitar. Lisa Lee’s lower-register vocals are reminiscent of Winter in Eden’s Vicky Johnson, and Denny Di Motta neo-classical guitar flourishes sound like a version of Yngwie Malmsteen with a sense of taste and restraint.

This is an album where the emphasis is on straightforward songwriting rather than overblown arrangements, and they stick to four or five minute songs rather than attempting any longer epics. “When Will Winter Come Back” is one standout that sounds like a potential single, the chorus of “There Is No Time” gets stuck in the head after a few plays. The soaring ballad “Stream of Awareness” is another highlight. There is the odd moment that doesn’t quite work, most notably the irruption of a few bars of Bach’s double violin concerto as the instrumental break of “Muto Inconscio” in a manner parodied by Spinal Tap way back in 1982. But most of the time it’s solid piece of work.

The album ends with a wonderful piece of silliness, a rocked-up cover of Donna Summer’s “Hot Stuff”, which is yet another example of how well 70s disco standards work when re-inagined as guitar-shredding metal numbers.

While Aghast Afterglow do wear their influences on their sleeves, most notably Nightwish, there is a lot to like about this record, and they sound more than capable of giving some higher profile acts a good run for their money.

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The Hair Escapes!

Donald Trump's Hair

Donald Trump’s hair managed to leap clear moments before the tragic steamroller accident.

It is unemployed and poor now. But it is happier.

(This image has been widely shared on social media, and I don’t know the origin)

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Braaaap!

No caps! No batteries! Does that mean it’s powered by Brussels sprouts?

When I were a lad, we didn’t have first person shooters. We played Cops & Robbers or Cowboys & Indians in the garden! Or sometimes British & Germans, since World War Two was still fresh in the collective memory back then. “Hände Hoch, Schweinehund!”

How the world has changed.

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Music, films, games and books that just aren’t for you have a right to exist. Their existence doesn’t invalidate the stuff you like. The belief that everything is a zero-sum game is pervasive, but wrong.

Posted on by Tim Hall | 2 Comments