Author Archives: Tim Hall

Mostly Autumn at Bury

Mostly Autumn’s annual visit to Bury Met last month was the first time I’ve ever travelled to a gig by kettle. Bury Met used to be a local gig for me, but now I’ve moved down south. Because all the affordable hotels in Bury were full, I ended up staying in the delightfully-named town of Ramsbottom, reached by means of the East Lancashire Railway. May well be the first time I’ve used a preserved railway as a means of getting from A to B rather than just for the ride.

It does feel like I’ve I’m living the blog tagline here – especially when The Trackside Inn at Bury serves an excellent selection of real ales, including one brewed by The Phoenix Brewery.

I won’t write an in-depth review since I wrote one for Salisbury in April.  But I will say the gig itself was another superb performance. The band are really on form on this tour, and Bury Met always has a great audience. Not for nothing did the band record this gig for a planned live album.  Olivia Sparnenn is now far more confident as the band’s frontwoman, and everyone else was on great form too, aided by a really good mix.

As well as the sound, I’ve got to compliment the lighting engineer too. Often when photographing gigs I find some band members, especially Iain Jennings, get hidden in shadows at the side of the stage. This time it was possible to get good photos of everyone. even the drummer. I’ve put a lot more photos on my post-Fotopic photo site – http://kalyr.smugmug.com

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#WayInMusic

Those of you who follow me on Twitter may have noticed the #WayInMusic tag, listing what I’ve been listening to on my mp3 player during the commute. Sometimes it’s a few songs on random shuffle, sometimes it’s half an album, and occasionally it’s a handful of selected tracks.

Twitter’s 140 characters don’t give me space to say much about the songs, but here’s Friday’s playlist.

  • Pineapple Thief – And So Say All Of You. I love the album “Tightly Unwound”. It’s a perfect example of the more streamlined modern progressive rock, hugely melodic with tremendous instrumental depth despite the lack of any conventional solos. All of it is good, but this song in particular is a standout.
  • Phideaux – Orangutang. I don’t really know much about this band. I picked up the album “313″ from a stall at the Cambridge Rock Festival on the strength of this song, which I’d heard on last.fm.  I’d describe it as “Prog Lite” – a real 70s vibe, but made up of short and relatively simple but strongly melodic songs.
  • Heather Findlay – Seven. While this isn’t the most instant song from the former Mostly Autumn singer’s five-track EP, after repeated listens this slow-burning number has become my favourite song from the record.
  • Lamb – Gorecki. This is the only song of theirs I actually know, so I have no idea if it’s typical of their music. An obscure Kevin Baconesque connection is that a cousin of mine is their lead singer’s child’s piano teacher.
  • Thea Gilmore – The List. Discovered this artist via mFlow, from where I downloaded her album “Harpo’s Ghost”. Some real depth and bite to this song.

And, as an added bonus, these three on the way home!

  • Therion – 2012. This band are completely bonkers, in the best possible way. “Choral Metal” is the best description I can come up with, but that really doesn’t do justice to the wide range of other influences. There’s a particularly jaw-dropping choir-backed guitar solo on this song.
  • Uriah Heep – Been Away Too Long. Most of the other songs have been relatively recent, but this one is an oldie from the 70s, from the John Lawton’s tenure in the band as lead singer. They were taking a rather Americanised soft-rock approach at this stage in their career – this song reminds me a bit of Kansas.
  • Opeth – Harlequin Forest. I love Opeth. What gets me about them is the way they combine passages of delicate beauty with brutal heaviness, often in the same song. I remember them playing this live on the Progressive Nation tour – a stunningly beautiful performance. The twin-guitar harmony section towards the middle of the song always gives me goosebumps.

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Journey – Eclipse

If they’ve heard more than one song, the general public only know Journey for their radio-friendly power ballads. But rock fans have always been aware of the other side of the band; the classy hard-rock outfit capable of filling quite major venues with their high energy live shows. In their eighties heyday there was sometimes a tension between these two aspects of their music. Interviews suggested the record company constantly demanding more ballads while at least some of the band wanted to rock out rather more. With less commercial pressure nowadays to be radio-friendly, this, like many of their recent albums, shows more of the hard rock Journey rather than the commercial power-ballad Journey.

After regrouping a few years back they’re now on their third singer since Steve Perry’s retirement. Following from Steve Augeri, forced out with vocal problems trying to reach Perry’s high notes, and Jeff Scott Soto, who never quite sounded right, comes Arnel Pineda. On his second studio album with the band he still sounds close enough to Steve Perry to make it sound like Journey, but on this disk he has enough of an identity of his own to be more than a mere clone.

From the opening guitar barrage of “City of Hope”, it’s clear that the songs on this disk are written more for live performance rather than for daytime radio airplay.  The following “Edge of the Moment” is in a similar vein, the sort of genre-defining hard-edged highly melodic AOR that Journey have made their own. There’s room for plenty of Neil Schon’s shredding jazz-metal guitar with songs typically stretching for five or six minutes, but they don’t neglect the stadium-friendly big choruses either. Other highlights are the Zeppelinesque “Chain of Love”, and “Human Feel” with the African-style drums and Hammond backed riff. The last three tracks are pure gold;  the epic power-ballad in “To Whom It May Concern”, the quintessential Journey pop-rock of “Someone” and finally the monstrous instrumental “Venus”.

The album’s by no means without it’s flaws. Jonathan Cain’s keys take too much of a back seat at times, and the album could have done with a bit more light and shade. And like too many albums it’s just a little overlong, and could have done with losing some filler towards the middle of the album. The mediocre “She’s a Mystery” in particular really shouldn’t have made the cut.

This album might leave some Glee or X-Factor fans disappointed, but reality TV viewers aren’t exactly Journey’s core audience. The is really an album for fans of melodic hard rock. While it doesn’t quite reach the standard of 80s classics like “Escape” and especially “Frontiers”, this album shows Journey are still as much a force to be reckoned in the studio as they are live, with a quarter of a century after their commercial peak. 

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The Merchant Princes

I’ve just started re-reading the first books of Charlie Stross’ “Merchant Princes” series. I haven’t found them that easy to get hold of in the UK, unfortunately. All those I have are imported US Mass Market paperbacks, and I have yet to get hold of the final volume “A Trade of Queens”. This series is further proof Stross is a very versatile writer. Not only has he written space opera, near-future technothrillers, and the excellent darkly humorous HP Lovecraft/Ian Fleming/Scott Adams mashup that is The Laundry books, but he’s also trying his hand at fantasy.

The story revolves around “The Clan”, an extended group of families who possess the hereditary power of World Walking, a quasi-magical ability to move between worlds. They have used this ability to grow rich by trading, becoming the Merchant Princes of the title. Most of the action takes place across three parallel worlds, one of them being our own, the others having histories that diverged from ours hundreds of years ago,

I love the way Stross knowingly uses so many tropes that have become bad clichés in the hands of lesser authors. There’s an ordinary person from our own world magically transferred into a fantasy setting. It’s got a pseudo-medieval dynastic soap-opera. It’s got alternative history, complete with airships. It’s even got the hoary old plot device of character from a humble background who discovers’s she’s a princess. But then he goes and subverts them all. The princess isn’t a naive teenager but a worldly-wise and highly educated thirty-something divorcee. The feuding Clan are explicitly compared with Arab oil sheiks or the Mafia. And most significantly of all, going against all conventions of the genre, the fantasy setting has believable economics.

It’s been compared with Roger Zelazny’s “Amber”, but for me it actually delivers what Amber promised but failed to. It’s got all the brutal dynastic politics, but rather than Amber’s insubstantial ‘shadows’, the worlds in which the Merchant Princes operate are fully realised with enough detail and colour that it feels like Stross takes you there with them. Stross is a writer who believes strongly in worldbuilding such that the setting becomes an important part of the story. And it shows.

The central character, Miriam, is another of Stross’s strong-willed and independent female leads, in much the same mould as Rachel Mansour from “Singularity Sky” and “Iron Sunrise”. Through her we meet a rich cast ranging from the morally ambiguous to the blackest villainy, As the series progresses the viewpoint pans out so that we see things from the perspective of many more characters, and one major villain turns out to be a significant figure from our own world.

While billed as fantasy, with an emphasis on the very character-driven dynastic politics, it still reads like quite hard SF in many places. The emphasis given to the way the economies of the worlds function is an aspect of this. But you see the same approach later in the series when a faction of The Clan try to determine the true nature of their world-walking ability.

The one big flaw in the series (and bear in mind I have yet to read the last volume), is the way the story is chopped-up to fit the demands of American publishing, especially the printing technology used which restricts the length of each volume. Not one of the books works as a standalone novel. As Stross once explained on his blog, the whole thing was originally conceived as two separate 600 page novels.The first two, “The Family Trade” and “The Hidden Family” read as a single 600 page story split across two books. But what was to have been the second 600 page book ended up ballooning into four volumes, partly to end each book on a cliffhanger, and partly because having to recap on things expanded the word count.

Despite those structural flaws, the first five books make for a well-written and thought-provoking series. As for the final book, I’ll give my verdict once I’ve read it.

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Uriah Heep – Into the Wild

Uriah Heep have never had the recognition they deserve in their home country. In continental Europe just about every metal band with a keyboard player seems to cite them as a major influence. But in Britain they’re a cult band, all-too-often thought of as 70s also-rans, best known for being one of the principal inspirations for “This is Spinal Tap”.

They have undergone something of a renaissance in recent years. After the constantly changing lineups of the 70s and 80s, leaving just guitarist Mick Box and bassist Trevor Bolder from their 70s glory days, they’ve enjoyed many years of stability, with vocalist Bernie Shaw and keyboard player Phil Lanzon members of the band for well over than half their four-decade career. Studio releases have been infrequent, but the sheer quality of albums like 1995′s “Sea of Light” and especially 2008′s excellent “Wake the Sleeper” showed a band who weren’t ready to turn into their own tribute band like so many of their contemporaries.

And now, forty-one years after their debut, they’ve gone and delivered one of the best albums of their career.

From the opener “Nail on the Head”, onwards this is a very much a hard rock album with a classic 70s vibe. It’s got the combination of searing guitar and Hammond organ that defines the quintessential Uriah Heep sound. But just as on “Wake the Sleeper”, ‘new’ drummer Russell Gilbrook has upped the energy level considerably, resulting in a very hard-rocking Heep indeed.

While there is a definite echo of “Lady in Black” in Trevor Bolder’s “Lost”, the nearest thing to a ballad on the album. there’s not much of their acoustic side on display, and very little trace of the Americanised AOR that characterised a lot of their 80s output. There is, however, noticeably more of Phil Lanzon’s keys used as a lead instrument. I don’t think I’ve heard this much Hammond organ on a Heep album since the days of Ken Hensley. The album closer, the epic “Kiss of Freedom” ends with a magnificent solo, each crescendo more extravagant than the last; nothing less than a “Comfortably Numb” of the Hammond B3.

Few bands can come up with an album this good in the fifth decade of their career, and even fewer come up with albums that rock this hard. But Uriah Heep are one of those bands.

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Book Review: David Cable – Hydraulics in the West

The early years of the diesel hydraulics in the west of England weren’t covered that well by photographers. With steam banished west of Exeter as early as 1962. most railway photographers spent the next six year chasing the remaining “kettles” in other parts of the country, leaving the early years of fully dieselised areas under-recorded. A pity, because this was a fascinating era, with much of the old steam-era railway surviving with little change other than the presence of diesel locomotives at the front of the trains. Which is why a book like this is very welcome indeed.

All the diesel-hydraulic classes feature quite extensively with the exception of the class 14s, with Warships and D6300s featuring particularly heavily. A few of the photos leave something to be desired on a purely technical level. With quite a few grainy photos, faded negatives and shadow-side shots this is not a book to blow many people away with stunning photography. But it more than makes up for this with the historical interest, which is surely why those less-than-perfect images were included. This isn’t to say all the pictures are poor; I love the atmospheric shot of a Warship on china clay coming round the curve from St.Blazey at Par. There are one or two howlers in the captions too; at one point, what’s described as a parcels train looks remarkably like a couple of breakdown train tool vans to me.

The vast majority of photos date from the 1960s, showing not just the express passenger workings on the West of England Main Line, but a lot of freight and branch-line workings that far too many photographers ignored. There are plenty of photos showing all or most of the train formation rather than the standard three-quarters views of the loco. This sort of thing is very useful for modellers; in the early 60s many second-string passenger workings used a real mix of pre-nationalisation coaching stock rather than uniform Mk1s. There’s even the odd pre-grouping vehicle in one photo of a SR Plymouth to Exeter working! There’s some real oddballs here too. How about a six-car “Silver Pullman” piloted over the south Devon banks with a Western? In the snow, as well. Or a rake of 1960s Metro-Cammell Pullmans in umber and cream at Truro behind a maroon Warship?

Some very interesting shots on the branches. Not only have we got D600s on china clay workings, but D6300s on the Kingsbridge and Helston branches during that brief period between the end of steam and complete closure. One that gets me is double-headed D6300s on the St Ives branch, looking for all the world as if it’s the West Highland line in Scotland until you look closely and realise the two North British locomotives aren’t class 21s but their diesel-hydraulic equivalents.

If you want a book filled entirely of technically stunning photos, you may well have reservations about this volume. But if you’re interested in a rather neglected period of British railway history, especially if you’re modelling that era, this book is for you.

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Chantel McGregor – Like No Other

I first saw the young blues guitarist Chantel McGregor at the Cambridge Rock Festival last summer, when she appeared low on the bill fronting a blues-rock power-trio, and simply blew everyone in the crowd away.

Her long-awaited debut album is not quite what I expected. While her talent as a virtuoso guitarist ought to be clear to anyone who’s seen her live, this album shows just as great a talent as a singer-songwriter. It’s hugely varied record; with nine original numbers and three covers, she doesn’t just do blues, but also does hard rock, delicate acoustic work, and some quite catchy pop-rock with choruses that get stuck in your head after a few listens.

The production is quite stripped down, giving her voice and guitar a lot of space. with subtle and sparing use of Hammond organ and cello to add additional instrumental colour. Some of her vocals remind me of Heather Findlay, with a similar natural warmth, beauty and earthiness. There’s certainly an Odin Dragonfly vibe with the acoustic numbers. The guitar playing, as expected, is fantastic too; enough spectacular pyrotechnics to satisfy any fan of great lead guitar, but like all truly great musicians, she also knows exactly when to rein it in and keep things simple.

Of the original numbers, the rocky “Free Falling” really deserves to be a hit single, and I love the angry “Caught Out”, a song for which I can definitely identify with the lyrics. The instrumental “Cat Song” is great fun too with slide guitar imitating the meowing of a cat. Another standout for me is “Screams Everlasting” which starts at as at atmospheric acoustic number and ends with a magnificent slow-burning electric solo. Two of the three covers are vehicles for extended guitar workouts, with the version of Robin Trower’s “Daydream” clocking in at not far short of fourteen minutes. But the third is a stunningly beautiful acoustic interpretation of Fleetwood Mac’s “Rhiannon”.

This is an album which ought to have something for everyone who appreciates great music played by a real musician. It’s about as far from Simon Cowell’s karaoke factory is it’s possible to get.

It’s available direct from Chantelmcgregor.com.

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Hydraulic vs. Electric – The Battle for the BR Diesel Fleet

There are two prevailing myths about the Western Region’s diesel hydraulics locomotives. The first, propagated by partisan anti-Swindon types is that the whole project was a disastrous failure motivated by ex-GWR types wanting to be different purely for the sake of it. The second, propagated by Swindon’s own fans, is that the decision to phase out the diesel-hydraulics was a purely political one, intended to curb the Western Region’s independent spirit.

Written with the assistance of senior engineers from both BR’s Western Region, and from Voith, in this book David Clough attempts to reveal the some of the truth behind the myths. The story that emerges turns out to be a lot more complex.

David Clough starts with the early history of diesel traction in the UK, going back to the days of the Big Four and covering technological dead-ends such as the GWR gas turbines and infamous Fell diesel-mechanical No 10100, which gets an entire chapter all to itself. We then get an overview of the experience of diesel-hydraulics in Germany, which gives us the background to the choices faced by British Railways in 1955 when they decided to embark on a crash course of dieselisation.

The meat of the book covers the design and service lives of the locomotives themselves, comparing the Western Region’s hydraulic fleet with the equivalent diesel-electrics delivered to other regions, and later to the Western Region itself. A major conclusion is that, despite what’s often been written, there’s little evidence of any inherent superiority for either diesel-electrics or diesel-hydraulics transmissions, and there was a much greater difference between successful and unsuccessful designs with the same type of transmission. Of the diesel-hydraulic designs, the Westerns come in for a lot of criticism over design flaws that dogged them throughout their lives, and it’s suggested that this is a major cause of the diesel-hydraulic’s poor reputation in some quarters. In contrast, the Hymeks in particular emerge as successful and reliable locomotives, bettered in their power class only by English Electric’s class 37s.

Some of the less successful diesel-electric classes get off lightly. The ill-fated North British class 21s do get a mention, along with the fact that some got rebuilt at great cost with Paxman engines only to be outlived by their hydraulic equivalents equipped with troublesome original MANs right to the end. But the failure of classes like the Metrovick Co-Bos and the Baby Deltics is rather glossed over, and the fiasco of the Clayton class 17s, which numbered over 100 yet had shorter lives than any hydraulic classes doesn’t even get a mention. The class 24s/25s, numbering over four hundred yet withdrawn after working lives of under 20 years, little more than the longer-lived hydraulics, only get mentioned in passing.

In the end, the real reason for the premature withdrawal of the Western Region’s diesel hydraulics turns out to be a matter of economics rather than politics. The Beeching closures of the mid-60s left the railway with far more locomotives than were needed, and it made economic sense to rationalise both the number of types, and close some works, including Swindon. Had things panned out differently, it’s not inconceivable that some classes, most notably the Hymeks, might have had considerably longer working lives. Some of their German equivalents are still in traffic today.

The book recognises that the story doesn’t end with the withdrawal of the last of the “Westerns” in 1977, but continues into the following decades with the widespread adoption of hydraulic transmissions for the second generation of multiple units. Indeed, the author notes how experiences with the “Westerns” influenced the design of the 125mph class 180 “Adelantes” a generation later. It closes with the fact that diesel-hydraulic locomotives are still being built in Germany, and the age of the hydraulic is far from over.

As is typical in large-format books from this publisher, it’s extensively illustrated, with something like 150 black and white photos, mostly from the 1960s and 1970s.

Available from the Ian Allen website.

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Heather on Tour – The Phoenix Rises

With the retail release of The Phoenix Suite upon us, Heather Findlay has been busy setting up some tour dates to promote it.

A couple of festival dates with the full band (Heather, Chris Johnson, Dave Kilminster, Steve Vantsis and Alex Cromarty) had been announced earlier, the first being the Cambridge Rock Festival on Friday 5th August, followed by The Galtres Festival in Yorkshire on the 28th of the month. Long before that there’s an acoustic date at the Lincoln beer festival on 28th May, as a duo with Chris Johnson.

In October, Heather will be the special guest for Touchstone on their album launch tour, again performing an acoustic set accompanied by Chris Johnson. This certainly came as something as a surprise. Touchstone, as readers of this blog are aware, are a tremendous live act, very much a prog-rock band, albeit with the emphasis on “rock”. This promises to be a great tour.

Four dates are confirmed.

13 Oct 2011 – Mr Kips, Poole
14 Oct 2011 – The Borderline, London
15 Oct 2011 – Riverside, Newcastle
16 Oct 2011 – The Robin 2, Bilston

Heather then follows this with her own headlining tour with the full band, with three five gigs announced so far.

17 Nov 2011 – The Brook, Southampton
18 Nov 2011 – Fibbers, York
19 Nov 2011 – Classic Grand, Glasgow
26 Nov 2011 – The Borderline, London
27 Nov 2011 – The Robin 2, Bilston

I’m very much looking forward to these; it’s been far too long since we’ve seen Heather on stage, and she’s always an exciting and dynamic performer. I’m sure the five songs from The Phoenix Suite are going to come over very well live. With the EP only 25 minutes in length it will be very interested to see what else she’ll play to make up a headline-length set. More new material which will appear on future EPs? A few reworked Mostly Autumn and Odin Dragonfly favourites? Some interesting and eclectic covers? Extended Dave Kilminster guitar wig-outs? Or perhaps all of the above?

I’m sure it’s going to be well worth the wait.

Updated 14/5/11 with additional tour dates

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Why I Don’t Like Game of Thrones


I’m probably in a minority amongst science-fiction and fantasy fans in that I never got past the first book of George R.R.Martin’s “A Song of Fire and Ice”. the long-awaited final volume of which will be published this summer, and which has now been adapted for the telly.

I remember reading the first volume as part of the Book Club on the CompuServe SFLIT forum (who’s old enough to remember CompuServe?). Everyone else was gushing praise about it, but it left be a little underwhelmed. Yes, it was a page-turner, but I found it read too much like a daytime soap-opera in medieval clothes. One reviewer described it as “Dallas in furs”, which for me was precisely what was wrong with it. Far too many characters, and not nearly enough emphasis on the worldbuilding. It may be there was a lot more creative worldbuilding that’s revealed in later volumes, but in the first volume at least, GRRM didn’t show me enough to keep me interested enough in the series to want to read any of the following books.

For me. it was a stark contrast to Frank Herbert’s classic Dune which we’d read previously, which is a book where the worldbuilding is very much centre-stage. I remember the sysop saying how much better Game of Thrones was than Dune, and the patronising way she kept dismissing my attempts to defend Dune still rankle a decade later. The line she kept parroting, which she claimed came from the TV industry, was “If you care about the characters, nothing else matters. If you don’t care about the characters, nothing else matters”. I took that as an example of how SF and Fantasy must be watered-down for mass audiences, and her repeating it showed a very strong preference for character-driven books, and no interest in worldbuilding at all. “How on earth can the planet be a character” was another line.

And that’s my problem. The sort of fantasy and science-fiction I prefer is always driven by the worldbuilding, in the broadest sense. Not just the physical environment that’s so centre-stage in Dune, but the back-stories, history and cultures. For me, the setting is far more than just background, but rather the context for both the characters and the story. Instead, “A Game of Thrones” takes as it’s plot a retelling of the Wars of the Roses, and takes it’s characters from the archetypes of American soap opera.

Not that I’m suggesting characters the readers can strongly identify with, or gripping plotlines don’t matter. Any worldbuilding is wasted if the world the author ends up with isn’t one in which he or she can tell a great story. But I read SF and Fantasy to have the author take me toanother world. It’s got to be a story which couldn’t have been set in suburban Bracknell.

On this subject, Charlie Stross agrees with me. That’s why I like his books.

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