Author Archives: Tim Hall

Black Country in N

4x5 Black Country

Another of those layout plans I’d love to build. This one’s an attempt to fit as much layout as possible in a small space, in this case 4’6″ by 3’6″. Although not an accurate model of a real-life location, it’s inspired by the point just south of Wolverhampton station where the viaduct carrying the high level electrified main line passes Wolverhampton steel terminal.

I’ve designed it using Kato Unitrack for the visible portions and Peco Settrack for the hidden parts. The upper level is simply a stretch of double-track main line fed by a six-road hidden staging yard. The idea is that the four bi-directional centre roads each hold a four or five coach multiple unit, which can run through the scenic section in either direction. Stock like Virgin and Cross-Country Voyagers, and London Midland 350s would be typical stock. The two longer outside roads can each take one longer train, such as a locomotive-hauled freight.

The lower-level tracks (in red) represent the steel terminal, fed by a two-road fiddle yard beneath the main line loops. The siding tucked under the loops will be appear to run into a low-relief shed. The steel terminal handles a mix of wagon types; typically modern covered BYAs, Cargowaggons, and older SPAs and bogie bolsters. The small size of the layout rules out any physical connection between the upper and lower levels, the junction is assumed to be somewhere off stage.

All that’ mmissing is a tramway; the street-running part of the West Midlands Metro runs very close to Wolverhampton Steel Terminal. Perhaps a third, lower level?

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Bigelf – Into The Maelstrom

BigElf Into the MaelstromWith a their unique mix of psychedelia, stoner-rock and pomp-rock combined with a love of vintage 70s gear, and a charismatic frontman in the shape of Damon Fox, Bigelf seemed poised to conquer the world back in 2010. A spot on the Progressive Nation tour supporting Opeth and Dream Theater won them a lot of new fans, and their fourth album “Cheat the Gallows” won much critical fame. But then, just as they seemed poised for bigger and better things, they disappeared.

Now Bigelf are back after an extended hiatus with a new album and a new lineup.

Only frontman and keyboard player Damon Fox and bassist Duffy Snowhill remain from the previous incarnation of Bigelf, with new recruits Luis Maldonado on guitar and the legendary Mike Portnoy on drums completing the band.

If you combined the melodic ear of The Beatles, the hand of doom of early Black Sabbath, the theatricality of The Crazy World of Arthur Brown, the musical ambition of 70s King Crimson, and the lack of inhibitions of Queen, you might end up with something like this album. It’s got all the strengths of previous Bigelf albums, but with a new energy that pushes beyond anything they’ve done before. They’ve managed to capture the same sort of intensity as their live shows in a way previous records only hinted at. “Intro The Maelstrom” is a very appropriate title for the way this album sounds.

Like their earlier work, the production has an organic 70s feel, with Damon Fox’s Hammond organ and swirling Mellotron still dominating the sound. He’s also a great vocalist with a strongly theatrical approach, with Ozzy-style angst-ridden howls in some places and rich harmonies in others. Despite his reputation from Dream Theater, Mike Portnoy doesn’t spoil the songs by overplaying; his drumming here is more solid grooves than flashy fills. Likewise Luis Maldonado fuzz-toned lead guitar emphasises riffs as much as soloing, although the climactic solo on “High” is a thing to behold.

The album is a musical roller-coaster ride which feels like one continuous piece of music rather than a collection of individual songs, and the way many numbers take abrupt twists and turns underlines this. Despite this whole thing is filled with great tunes, with instrumental themes as well as vocal lines standing out some of the strongest melodies; the closing section of “Mr. Harry McQuhae” is a great example. With an album like this it’s difficult to pick out individual highlights, though the apocalyptic “Edge of Oblivion” towards the end of the album is one of many standouts.

It’s been a lot wait for this album, but the wait has been worth it. This has to be by far the best thing Bigelf have ever done.

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Original Album Series – MSG

MSG Orignal Albums When German axe hero Michael Schenker left UFO after their career-defining live album “Strangers in the Night” it wasn’t long before he put together his own band with vocalist Gary Bardens, and released their first album, entitled “The Michael Schenker Group”

Unlike UFO, the riff-centric album fell on the metal side of the metal/hard rock divide, a mix of punchy rockers and longer epics with the odd neo-classical instrumental thrown in for good measure. There was something of Ronnie Dio in Bardens’ vocal approach and mystical lyrics. Though not totally filler-free it was a solid start, with the opener “Armed and Ready” and the lengthy closer “Lost Horizons” particular standouts.

The first album had been completed with the aid of session musicians, but the second, called simply “MSG” featured the road band put together to tour it, including Cozy Powell on drums and Schenker’s former UFO bandmate Paul Raymond on keys. It was an ambitious slightly prog-tinged work, although Ron Nevison’s production drew controversy, especially with what he did to Powell’s drum sound, and Schenker himself made it clear he wasn’t happy with it. But songwise it was a stronger statement of intent, with “Attack of the Mad Axeman”, “Let Sleeping Dogs Lie” and the epic “But I Want More” among the standouts.

The live double, “One Night At Budokan”, captured the band at the height of their powers. A bigger, rawer sound brought the songs from the two studio albums to life, with far more muscular takes of material from the second in particular. As with many rock live albums of the era, many songs turned into big guitar showcases, demonstrating that Schenker had lost none of that magic from UFO days.

Then things started to go wrong. For the third studio album former Rainbow singer Graham Bonnet was brought in to replace Gary Bardens, and despite his undoubted vocal prowess, the songwriting suffered. The album “Assault Attack” nevertheless had it’s moments, and was certainly the best-produced studio work to date. It was let down by some God-awful lyrics, but saved by Schenker’s always superb guitar work. Much of the time the guitar pyrotechnics overshadow the songs, but when it all comes together on numbers like “Samurai”, there are still moments of greatness.

Bonnet’s tenure was brief, and Bardens was back in the band before the album was even released. But by the time they recorded “Built to Destroy”, the magic of the early albums had dissipated. They took an AOR direction, but it was a dying fall rather than a new beginning, with a thin, weak production and poor songwriting. Schenker is still on masterful form, but this time, when too many of the songs seemed to be marking time until the solo, even his playing isn’t good enough to save the album.

Taken together, the five albums in reproductions of the original LP sleeves represents exceptional value for money, when the whole thing goes for the same price as a single new CD. It’s true you don’t get copious sleeve notes with it, but nowadays we have Wikipedia for that. If you have fond memories of one of more of the original albums in the 1980s, this is highly recommended.

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New Additions

Dapol 45XX and OOVs

A few additions to the rolling stock of as-yet unnamed layout. First, a rake of Farish OOV china clay wagons, made as a special commission for Kernow Models. They sell them both in post-1974 “Clayhood” form, and as illustrated here with the earlier flat tarpaulins, appropriate for steam or diesel-hydraulic haulage. It’s a shame the Dapol 45XX doesn’t run as well as it looks, and I suspect these wagons will be spending most of their time behind a class 22 diesel instead.

Farish Bullied Brake Second

Second, one of the new Farish Bulleid coaches. It’s a little-known fact during the early 1960s the Western Region’s coaching stock fleet including vehicles from all of the “Big Four” pre-nationalisation companies as surplus stock was redistributed across the regions to make the best use of their remaining useful life. I’ve seen photos of a Penzance to Paddington express with a single green-liveried Bulleid brake second in an otherwise uniform set of maroon Mk1s, which is why I bought this coach.  Although some rivet-counters have pointed out that it’s not quite the right diagram for the coaches transferred to the WR from the SR Eastern Division in 1962…

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Jonathan Ross, The Hugos and the Twitterstorm

Jonathan Ross - Photo from Wikimedia CommonsSo Jonathan Ross was invited to host the Hugo Awards at WorldCon in London, but was forced to withdraw following a storm of outrage on Twitter. Since a tweet of mine got quoted by Bleeding Cool and makes it look as though I was part of the Twitter mob with torches and pitchforks, I thought I needed to make it clear where I stand.

The way so many people had a problem with a household name TV presenter from hosting a major science fiction awards ceremony must be seen in the context of the SF world’s ongoing civil war. On one side there are those believe the genre needs to be made more inclusive towards people who are not white and male, and it’s time to end the racism and sexism that has bedevilled the genre for years. One the other side are those who are concerned about threats to freedom of expression, and witch-hunts against individuals. It doesn’t help that there are a few unpleasant and poisonous individuals on both sides, whose behaviour reinforces the other sides’ conviction that they’re right.

I am not a fan of Jonathan Ross. Given some of his past behaviour, including his reputation for cruelty-based humour and his apparent attitude towards women, inviting such a divisive figure to host a flagship event was always going to be problematic. When one of the organising committee resigned in protest to his invitation, that ought to have been a warning sign that he might not have been quite the right person.

But the way events panned out, nobody comes out of this with any credit. The decision to invite him as host was spectacularly tone-deaf given the ongoing divisions in the SF world. But that doesn’t excuse the people who went on Twitter and attacked him personally with quite unnecessary levels of vitriol. And Ross himself didn’t respond to those attacks with good grace. The whole affair from beginning to end is a spectacular fail by the SFF community as a whole.

The public face of the SFF community is diminished by this. Anyone gleefully celebrating “victory” rather than seeing the whole affair as a tragedy needs to take a long hard look at themselves.

Addendum: There’s a lot of (mostly) level-headed discussion on the subject on Charlie Stross‘s blog.

Further Addendum: And a very insightful post from Foz Meadows laying a lot of the blame on the LonCon committee for the ham-fisted way they handled the initial announcement,

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Oasis – Definitely Maybe

Definitely MaybeThe way Oasis typically get the blame for the every unimaginative lumpen guitar band that followed in their wake means their place in music history has tended to overshadow their actual music. Indeed, there’s a widespread view that 90s Britpop was one of the worst things that ever happened to British popular music. All of which makes it hard to judge the actual records, especially when you listen to them outside the context of the time and place of the original release.

So, twenty years after its original release, how well does their first album stand up?

There was something about them besides that rock’n'roll swagger that appealed so much to a certain kind of music journalist. Noel Gallagher did have an ear for a good pop tune, even if he sometimes tended to steal rather than write his own. The rhythm section is solid, and the album is more than a couple of hits and a load of filler. The album does have its notable strengths.

But Noel’s stream-of-consciousness gibberish lyrics just sound ridiculous; at least Jon Anderson of Yes sounded profound. Noel just sounds as if he’s never read a book in his life, and all he can do is string together clichés. The way he established a laddish anti-intellectualism as a representation of working-class authenticity cannot possibly be a good thing.

As for his brother Liam, I’ve never quite understood why the press at the time thought he was ever one of rock’s great frontmen. His voice starts getting irritating after a bit, and his attempts to replicate Johnny Rotten’s vocal tics sound ridiculous. Anyone who thought he was one of the greatest really needed to get out more.

But there are worse vocalists than Liam, and the weakest link of all is Noel’s extremely limited lead guitar playing. He does his best on “Live Forever” with a solo containing every single note he knows and making the most of his limited technique. But a song like “Slide Away” is the sort of thing that might have been transformed had Oasis had a half-decent lead guitarist. As it is, with Noel’s rudimentary instrumental skills it comes over as a sort of lobotomised Lyrnyrd Skynyrd. And that’s one of the best tracks on the the album.

This was an album that combined the mainstream and the alternative by taking the least interesting parts of both, resulting in something too bombastic to be indie, but lacking the musical sophistication of rock or the raw energy of punk. Oasis’ success demonstrated that large scale success in rock’n'roll is as much about being in the right place at the right time as it is about depth of talent. And the extent to which enough money thrown at PR can propel the most average of bands into superstardom.

While it was still enjoyable record at the time of release, even considered a game-changer by some, two decades on it has stood the test of time rather less than Kula Shaker’s first album.

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Noel Gallagher: More Devastating than a points failure?

So Noel Gallagher said to be working on ‘seismic’ new album

On the day it comes out, Virgin Trains won’t be able to cope with all the people trying to flee the chaos,’ says Mark Coyle, who co-produced Definitely Maybe.

The trouble with that analogy is that all it would take to stop people being able to get out of Manchester by Virgin Trains would be a points failure at Slade Lane Junction.

But “Noel Gallagher’s album: More devasating that a points failure at Slade Lane Junction” is hardly a killer slogan…

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Cloud Atlas announce venue for Album Launch

Cloud Atlas BandCloud Atlas’ launch gig for their much-awaited début album “Beyond the Vale” will be at Fibbers in York on Saturday 28th June.

Everyone who’s pre-ordered the album already has an invite for this gig. For those who haven’t pre-ordered, ticket are now on sale.

From the venue’s announcement:

Misused that phrase, ‘progressive rock’, isn’t it? To the uninformed or out-of-touch it conjures images of Rick Wakeman in a cape or Peter Gabriel with a flower round his head.

But it’s so much more than that, has moved with the times and is in good hands with the likes of Heidi Widdop and her new band CLOUD ATLAS.

From early days with Mostly Autumn and progression with ill-fated projects Breathing Space and Stolen Earth, our heroine has shown a steely determination to settle for nothing but the best. Not just the musicians surrounding her but also songwriting, arrangement and putting on a great show!

Inspired by a photograph of the sky one morning, the name Cloud Atlas seemed to be perfect, summing up the mystery and unpredictable nature of Heidi’s musical journey.

Sweeping soundscapes, sometimes dark but always intriguing and full to bursting with melody and atmosphere, this is ‘prog rock’ at its finest, it’s most up-to-date and, quite frankly, bloody fantastic.

Support will be the talented Plumhall, who supported Stolen Earth on a number of oocasions.

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The Morpheus Rising album launch

Morpheus Rising's

Morpheus Rising chose Bilston Robin 2 as the location for the launch of their second album, both as an excellent rock venue with great acoustics, and as a central location that’s accessible for fans across the country. Not only that, the show also marked the live début of Luna Rossa, Anne-Marie Helder and Jon Edwards’ acoustic Panic Room side project.

Luna Rossa at Bilston Robin 2

Luna Rossa played a beautiful set, drawn almost entirely from “Sleeping Pills and Lullabies”. Shorn of the strings and additional instrumentaion of the album, the stripped-down sound of just voice, piano and guitar emphasised the strength of the songs. Jon Edwards’ expressive piano and Anne-Marie’s equally expressive voice make a perfect combination in a live setting, and songs like “Heart On My Sleeve” came over especially well.  The one all-new song was an atmospheric piece featured electric piano and some of Anne-Marie’s flute, and offered an intriguing taster for the next Luna Rossa album. They closed with the multi-layered “Gasp”, the one time they resorted to backing tracks for a song that wouldn’t work without the strings and looped backing vocals.

Morpheus Rising's

Then it was time for the twin guitar classic hard rock of Morpheus Rising. Their shows supporting Panic Room last hear had previewed quite a few of the new songs, one of two of which even became live favourites. But for the launch show the band played the whole album including the two download-only bonus tracks. The whole thing came over very powerfully live, so much so that it’s hard to pick a single highlight, though “Bending Light” with Pete Harwood’s e-bow solo came over especially strongly. With new drummer Nigel Durham they’ve gone up another gear as a live band.

Morpheus Rising's

They had intended to continue with the highlights of their first album, but unfortunately a poorly drummer forced them to curtail their set, making for a slightly confusing ending.  They did come back for one more number, a rousing rendition of “Lords of the North”. But the slightly premature end failed to take the edge off a fantastic night. On paper, the two very different acts sharing a bill ought never to have worked. But the combination of delicate acoustic beauty with full-on rock and roll ended up complimenting each other extremely well, and the whole thing made for a remarkable evening.

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“Someone please take my bottomless bowl of popcorn? I’ve eaten so much I think I’m going to be sick” – Bitcoin-hating Charlie Stross on the collapse of Mt Gox. The whole thing reads like the plot of Stross’ novel “Halting State”.

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