Thursday, June 29, 2017

Revisiting The Twilight Zone: S05E19: Night Call

Revisiting The Twilight Zone: S05E19: Night Call

On the face of it, this episode has all the right ingredients to make it one of the better stories, though for some reason it doesn’t resonate as much as it should. I can’t really put my finger on why this is, but something just doesn’t elevate it into one of the highly thought of episodes.

It is well acted, and the story of the mysterious phone calls to the invalided old woman, which come with increasing regularity and slowly more recognisable words rather than silence, works well. The build up to the middle of the episode, where Elva has insisted her caller stop bothering her, and the phone company tracing the calls to the local graveyard, is good. Even the conclusion is done well, though having read Richard Matheson’s original short story “Long Distance Call” on which this is based, I like the ending of that better (where the caller says “I’ll be right over!”). And perhaps that is where my problem lies, in that I enjoyed the ending of the story more in its written form rather than the changes made for this episode. Still, this was an easy way to spend twenty-odd minutes.

Rating: Beware the midnight phone call. 4/5.

Wednesday, June 28, 2017

1001. Tears for Fears / Songs From the Big Chair. 1985. 3/5

Back in 1985 this was one of those albums that just about everyone either had their own copy of, or had had someone record a copy for them on cassette. On the strength of the singles that were released from the album, it became one of those that was sought after. It was about the time that I had started to forge ahead and find albums of bands whose songs I liked rather than settle for just the radio songs available. Often you would get the album and discover songs that you liked more than those singles, that you would never have heard if not for getting the album. Others you would realise that the best of the crop had been the singles and the rest was a barren wasteland. Songs From the Big Chair is a little of both for me.

The album leads off with “Shout”, which was one of the popular singles that crowded the airwaves through 1984, and of which everyone from my generation knows. I’m sure it was on the local radio stations morning program every day for six months. It still seems to be as popular today as it was in the day. “The Working Hour” for me has always come across as a bit drab, not really carrying on from the energy of the opening track. It’s not a bad song but it lacks something. Perhaps it is just the fact that it is sandwiched between two such huge songs that it tends to pale a little.
“Everybody Wants to Rule the World” is the gold nugget of not only Tears For Fears career, but almost for the entire decade of the 1980’s. It is still a great song today. My kids in their school choir sing it. It opens the movie “Peter’s Friends” in the perfect way, playing over a montage of the ‘big picture’ moments between 1984 to 1994. It’s upbeat, and the lyrics perfectly portray how we as teenagers of the time felt about life in general. It still touches all of the right places when I listen to it today.
“Mothers Talk” is a lot closer to the kind of sampling technique that was finding its fashion in this period of the 1980’s and that was becoming more commercial as the decade moved on. For me it was never a song I cottoned on to, though on this album, coming as it did as the closing track to side one, I enjoyed it enough. As a song on its own however it wasn’t one I rated.
“I Believe” is a true soft ballad track. I never really understood it as the opening to the second side of the album, as there is no energy driving it in a rock or pop sense, it really is just a gentle reflective song. I’ve always though albums needed a punch as the opening tracks, especially in the vinyl and cassette days when it was important to build on two sides. I think it probably works better in a CD or digital space where you don’t have to get up to change the record or cassette over. This is followed by “Broken” where the energy flow returns, driven by the keys and synth. “Broken” segues into “Head Over Heels” which shares a similar piano chord progression in places with the previous song. The similarities seem even more related when this then segues into a live reprise of Broken that was recorded previous to the album being completed. The album is signed off by “Listen”. And let’s just say that “Listen” is far too much like a poor man’s rendition of a progressive rock style free form instrumental journey with some lyrics thrown in to the mix for me. It’s a bit too psychedelically unformed for me to enjoy I’m afraid.

As a pop album of its time this was one of the best. It may not have been my chosen genre of music at the time – that was geared more towards bands such as Queen and The Police and Midnight Oil at the time, and was about to go full blown into the heavy metal phase – but it was still an album that gained my attention and that I played a lot. On reflection today I still think it holds up well for its style and age.

Rating:  “Welcome to your life, there’s no turning back”.   3/5

Monday, June 26, 2017

1000. Therapy? / Troublegum. 1994. 5/5

In 1995 at the rain-sodden mud-soaked festival that was Alternative Nation in Sydney’s western suburbs, one of the bands I had marked down to see that day was Therapy? I had heard none of their music and knew of them only from vague articles and posters in unusual places (such as in Steve Buscemi and Adam Sandler's flat in Airheads). Soaked to the skin with six beers in various pockets of my oversized jacket, I witnessed a set that impacted on me like few have, before or since. It was belligerent, raucous and quite awesome given the completely out of the way stage they had been placed on. I loved every song, and the following week I searched out the album that their guitarist and vocalist had said they were touring on. That was my introduction to Therapy? and the album Troublegum. The angst ridden anger-fest that has become one of the most important albums of my life.

When Therapy? came along, I was at probably the lowest point of my life. I only say this here so that you can understand why I have such strong feelings about the album that others may not share. It was a six month period that I muddled my way through not exclusively because of this album, but with the help of this album being a majority shareholder nonetheless. Every emotion I was feeling in my life at that time was mirrored in Andy Cairns music, lyrics and vocals on this album. However, Troublegum doesn’t remind me of that time at all, nor does it make me maudlin or upset because of it. Certainly it is still the best tonic to put on when I get down, or get angry. It does still draw out any anger I have in me when that is needed. What it does do is make me smile, because this is one of my magic talismans; an album I can put on at any time and draw from it the good feelings or power or inspiration or whatever it is I need, just from listening to it.

The opening salvo still never fails to deliver. Part of its charm is that there is no pause between songs. Each keeps coming straight after the previous song has finishing, or segues into it. It’s like one big long live set, with no pause for talking, just get into the next song. From the very beginning you are left in little doubt as to the direction that the album is taking. “Knives” comes at you wielding those glittering blades with anger and those crazy eyes. The vocals scream, the drums hammer and the guitars are guttural. There’s plenty of crazy in this song, and it is all the better for it. The alternative punk version of the angst-ballad comes next with “Screamager”, jauntily bopping away while Andy explains his taunts and echoes throughout. The catchy and simple chorus and fast paced punk guitar adds to the flavour. The segue into the hard core guitar riff of “Hellbelly” is then accompanied by the heavy hitting drums and ripping bass riff that crushes throughout the song. I love this song (but then again I love them all). The slightest of pauses leads into “Stop It You’re Killing Me” which continues in the same vein of what has come before. It’s hard hitting musically and lyrically, another great song to sing along with, especially when you are feeling aggressive. From here the wangling guitar riff opens into “Nowhere”, once again at a great pace that gives you everything whether you are at the gig or at home in the lounge room. This period of five songs to open the album is the equal of any other album I know. It’s non-stop, it gives you no time to rest, and it is adrenaline-inducing fun.

The middle of the album changes things up a little in places. “Die Laughing” has a different groove and different mood, rolling smoothly through the song rather than belting you bluntly over the head. “Unbeliever” is similar in a different way, where there is not so much aggression in the song. This is more the sad reflection on what is happening in life rather than being angry about that same life, almost like the slide on the other side of drunkenness as against the rise of the anger as the drunkenness is taking effect. Do I know this from experience? Perhaps. “Trigger Inside” perhaps has more of that anger involved, but is followed by “Lunacy Booth” that has a similar musical feel to the previous two songs.
There is a great cover version of Joy Division’s “Isolation”, which takes the angst of that song and revs it up a notch, giving the song the power it lacks in the original version. It’s fast paced and driven by the drum beat. Terrific. “Turn” and “Femtex” lead into the frantic and lost screaming of “Unrequited”, an amazing mixture of emotions as explained in the title of the song. The music and vocals mix together brilliantly in this song to accurately portray the subject matter, before exploding into the awesome guitar and drum fuelled riff opening of “Brainsaw”, a song that I have always loved… but have also always thought should have been better and heavier and louder given the opening thirty seconds of the track. That moment when it moves from the end of “Unrequited” into the start of “Brainsaw” for me is still just as brilliant as the first day I heard it. And let’s not forget the closing out of the album, with the quiet fade out of “You Are My Sunshine” that sounds like it is being played at an old fairground. An interesting touch.

Perhaps this album’s biggest problem is that it killed any chance for any other Therapy? release to get a fair hearing. With so much tied up in this album, any subsequent album had to be able to do these same things to me and FOR me to be considered close to its equal, and the band hasn’t been able to reproduce that. There are good albums yes, but nothing that can match what is on Troublegum. For the same reason I can understand (to a certain degree) when people say they don’t think this album is anywhere near as good as I think it is. That’s completely understandable considering what I have tied up in this album emotionally. Each song means something to me, and is tied to emotions I have felt in many different moments in my life. It still speaks to me today in the same way even though I don’t feel those same things anymore, because I remember what I felt at the times these songs remind me of.

Considering the journey music has taken me on in my life, it is fitting that an album that acted like a life preserver for me is the one that clocks up my 1000th album review since I began THIS particular journey some 12 years ago.

Rating: “The world is fucked, and so am I. Maybe it's the other way round, I can't seem to decide”. 5/5

Thought For the Day

Saturday, June 24, 2017

Thought For the Day

Albion Park JSC Under 10 White vs Russell Vale White

All those looking for today's match report from the Albion Park JSC Under 10 Whites clash against Russell Vale White... well, the short answer is... I'm sure all the kids had a good time.

Russell Vale looked the better side, and they played with more enthusiasm. The Albion Park team seemed half asleep, and didn't chase, tackle or run with any of the enthusiasm they have shown in recent weeks.
The score was 0-0 at half-time. In the second half a couple of good attacking opportunities went begging, an d a shot from Jack Tate just dribbled wide of the left post. In the best short period of the day for the park team, Belle Kadwell fought hard in the forward line to wrest the ball from her opponent, before making a great cross to the goal square where all three of Claire Kadwell, Zoe Middleton and Noah Black were free, with Noah eventually getting the goal to take the lead 1-0.
Unfortunately that really was the best of the play. There was not a lot of control with the ball, with too many big kicks attempted and miscued. The ball was also poorly cleared all match from the defensive quarter, and this led directly to two goals by Russell Vale when the ball was not cleared and then passed straight to the opposition who took their chance. Indy Middleton did make one terrific save from a strong strike that stopped the score blowing out further. At full time the score was Russell Vale 2, Albion Park 1.

Friday, June 23, 2017

999. Iced Earth / Night of the Stormrider. 1991. 3/5

While Iced Earth’s debut album Iced Earth whetted the appetite without creating too many waves, there was great hopes that the follow up would be able to eradicate the lesser parts of that album and replace it with more of the good. In essence that meant replacing lead vocalist Gene Adam and bringing in John Greely in his stead, and more of that galloping guitar and drum beat flying through the songs to get it on the right track.

In short, in my opinion, it probably needed to be backed up with better vocals. I’m not exactly sure if vocalist John Greely based his vocal technique on any one singer, as he seems to jump around in style between King Diamond, Rob Halford and Cronos. The energy is there, but averages out all the good that comes from the music in the long run. I’m really couldn’t split Greely and original vocalist Gene Adam as to who annoys more as to downgrading awesome songs. And singling out the vocalist for being the difference is completely unfair I know, but whenever I listen to this album or its predecessor I can’t help but wonder how good it would sound with any of the future vocalists in charge. You only have to hear Matt Barlow’s live versions on Alive in Athens to know I’m right. And as it turned out, I gained a greater respect and understanding of this album from listening to Barlow singing these songs live on that album. Because they all sound better live, and the vocals have so much more power and tone there than they do here.
The opening three songs are great – “Angels’ Holocaust”, “Stormrider” and “The Path I Choose”. I don’t understand “Before the Vision” at all. Okay yes, I know it’s a part of the concept story but it doesn’t fit musically at all. Just another example of the sometimes muddled thinking about where to place songs on an Iced Earth album and how that may affect the run and mood of said album. “Mystical End” I think is only average, but this is followed by “Desert Rain” which lifts the bar again. “Pure Evil” is a song that changes inflection throughout, dependant on the style of guitar and vocals that come with it. I still think this is half genius and half ‘WTF?!’ But seriously, when the gallop comes in this song really goes hard. After more distraction from the acoustic bridge of “Reaching the End” we are treated to the excellent closing track “Travel in Stygian” which, despite its changes in tempo and mood throughout which does annoy me no end, finishes off the album in style.

While I may have overplayed the problems with the vocals that doesn’t eradicate any fault in the song writing. For me (and I may be on my lonesome here) I just don’t like the constant switching between moods in the same song. To me it halts the momentum of the song, and then the album. There is a lot to like here if you are a fan, and it does auger well for future releases, which of course is the good news that eventually came our way.

Rating:  "We paint the sky with blood tonight, setting free the damned to fight".  3/5

Thought For the Day

Wednesday, June 21, 2017

Thought For the Day

998. Primal Fear / Angels of Mercy - Live in Germany [Live]. 2017. 3.5/5

The expectation when you go to a live album is that you will get (hopefully) an authentic live experience from the band. One that hits you with a set list that is worthy of the band touring with, and then worthy of recording for the rest of us to listen to. In many ways then the live album is at the mercy of the album the band is touring on, and the selection of songs that has made up the rest of that tour. If the album is a good one then you expect the live album to be as well. If it is only average… well… you may have a problem.

Angels of Mercy - Live in Germany is a live album that I have listened to now for the two weeks since its release, and I can’t help thinking that there is something missing. I have not seen the DVD and am not judging it on that. It just isn’t working perfectly for me, and I can’t help but wonder whether this is as live as it is suggested. Is it overdubbed? I can’t be certain. But there are a few things that aren’t quite at the top of the game nonetheless. The relative sameness of Primal Fear’s recent material (as related in other reviews) mean that if you only concentrate on that double kick keeping time throughout it can get somewhat monotonous. That’s not what you are looking for on any album let alone a live release. There are also periods where Ralf Scheepers vocal range is beginning to require a bit of a tinker, and that can be slightly distracting when listen to songs for the first time in a live setting. It’s only in a couple of places where it is noticeable, and the use of delay tries to mask that, but most fans will pick it up. And yes there are places where I’m sure a little bit of doctoring has gone on in post-production. Perhaps I’m mistaken.
The songs you love sound great hear, and the ones you don’t at least sound good. “Final Embrace” and “In Metal We Trust” open the album in style. “The Sky is Burning” is just as annoying here as it is on the studio album.

Fans will get this album no matter what and will digest it as they always do. I know that we have been spoiled by the great live albums from other bands, and that not all live albums need to be judged against them. But it comes down to needing the live sound to be transferred faithfully to your preferred format, and for the songlist to be worthy of that live environment. This is a good live album of this band. It just isn’t completely brilliant.

Rating: “In metal we trust”. 3.5/5

Monday, June 19, 2017

Songs of My Life #68 - Iced Earth - Ten Thousand Strong - 2007

Songs of My Life #68 - Iced Earth - Ten Thousand Strong - 2007

Iced Earth is a band that I like a lot of songs, and then have trouble with a lot of songs. Most of their albums I like half the songs on them and then there are a few I can't get into at all. But the best songs are just awesome.

Let's take this one for example. For a short time Tim "Ripper" Owens joined then band after the departure of Matt Barlow, and to be honest I think Jon Schaeffer had trouble writing songs for his vocal range. But by goodness they got it right on this song. The best Iced Earth songs all have the galloping guitar and drums backed up by great vocals, and this has it all. The whole song is fabulous, but just take a listen to the way Ripper starts and finishes the song - my goodness, to have a voice like that. These are the kind of songs Ripper should be singing all the time, great fast tracks that make the most of his brilliant range. There is not enough of it.
The video to go with the song is barely average, but the song makes up for it. Turn it up and let it rip! \m/

Thought For the Day

Champions Trophy Match 15: Final: India vs Pakistan

Champions Trophy Match 15: Final: India vs Pakistan: Scorecard

In a tournament of predictable unpredictability, perhaps it is only fitting that the team that was the lowest ranked in the series was the one who came good at the right time, and did most of the little things right in order to come through and claim the Champions Trophy for 2017. Putting aside their recent ODI form and a lacklustre belting against the same opponent two weeks ago, Pakistan has barely put a foot wrong since, and took advantage of India’s shoddy effort throughout the day to decisively put their opponent to the sword.

I don’t know why captain’s continue to win the toss and put their opponents in to bat. Certainly as I have said in recent matches, the tactic of batting second has paid off, but surely ESPECIALLY in a final you want to put runs on the board and pressure the team chasing those runs. Still Kohli persisted with his thoughts, and it must be said that his bowlers failed to back up that decision. After three excellent overs to open the match it all went pear shaped, with wides and no balls coming in flocks. Fakhar was caught behind off Bumrah, but it was a no ball and he was reprieved. On 3 off 8 deliveries at the time, the overstep cost India another 111 runs off 98 deliveries and forever changed the course of the match. Even when Fakhar did what the Indians could not, by stranding his partner Azhar Ali on 59 with a ridiculous run out, the Indians already appeared shellshocked out of the contest. Unlike the last six matches, where this point of the first innings coincided with a downturn in the batting team’s fortunes, here Pakistan just continued on, helped by the untidy bowling and the inability to halt the run rate. Ashwin and Jadeja, jewels in the crown on home tracks, were impotent here and both went for more than seven runs an over without being about to make vital breakthroughs. Pakistan’s middle order grew in the strength and vigour built from their top order, and by the end of their fifty overs they had scored 4/338.

The pressure of chasing a big total in a final can never be underestimated, and the ability to combat that is enormous. Mohammed Amir, seeking redemption in the country where his most shameful acts on a cricket field had occurred, produced the kind of spell that all cricket watchers expected that he could since first seeing him as an 18 year old. Bowling at pace and bending his left arm deliveries back into the right hand batsmen, he trapped Sharma plumb in front third ball, had Kohli dropped at first slip in his next over, before having him caught at point the very next delivery. Then in the last delivery of his fifth over he had Dhawan caught behind, and the top order had been decimated. He finished with 3/16 from his five overs, and amazingly wasn’t required again in the match. Yuvraj and Jadhav were both outthought by the leg spinner Shadab, while Dhoni was set up beautifully by Hasan and he dutifully hooked straight down square leg’s throat, and at 6/72 the match was surely gone. Pandya decided to have a crack though, and his 76 had come from 43 balls before he was sold up the river by Jadeja, who not only should have done everything to get his partner on strike, but then turned his back on him when the mix up occurred and allowed him to be run out by 15 metres when the very least he could have done was sacrifice his own useless wicket. It was thoughtless and selfish cricket, and Pandya’s frustration was obvious to all, no doubt more so when Jadeja threw his own wicket away six balls later. With India perishing for 158 in just the 31st over, a defeat by 180 runs is something that will not be very palatable for the supporters back home.

So where to now for the Champions Trophy? Does it retain its format? Does it get bigger? Does it exist at all? The jury is still out, but you can be sure that the Pakistan supporters and players will all be celebrating for some time over their amazing climb to the victors circle.

997. Danzig / Black Laden Crown. 2017. 3/5

Is there any use trying to compare Danzig albums against each other? The man himself has been around now for decades, and he has been a torch bearer and an influential player as much as he has been a crazy loon and a faller upon bad times musically. The revolving door of members of the band has been used more often as the years go by such that the name Danzig now almost literally mean the one and only Glenn Danzig. Whether that has been a problem with the albums the band has released is an individual assessment, as will the enjoyment of the songs brought forth. Perhaps sadly, other factors must also be considered.

The title track “Black Laden Crown” opens up the album and is an enjoyable start. Following this I must ask a question. Don’t you just love the rhythm of “Eyes Ripping Fire”? I do. This is what brings out the best in Danzig’s music. You’re head bounces along with the drum beat and riff, Glenn’s vocals do their best work in this environment, and you also get to insert a guitar solo to impress the mob as well. This is the format of song that I think brings out the best in the band’s work. “Devil on Hwy 9” goes in the same direction with the same qualities. “Last Ride” infuses the much slower maudlin pace that Danzig often sit on, but because of the energy of Glenn’s vocals it makes it a classic Danzig tune rather than a dull and bonded track that would be the case if anyone else attempted it. The problem with latter tracks such as “The Witching Hour” and so forth is that there isn’t that same energy in the vocal track, and this the songs begin to fall flat because of it. “But a Nightmare” seems to have guitar level problems but more importantly a guitar and drums riff that doesn’t change for the whole second half of the song makes it feel as though it drags on forever. “Skulls & Daisies” could have been improved greatly with the same enthusiasm in Glenn’s vocals as he gave in “Last Ride”. “Blackness Falls” sounds like the same song, with the same lack of drive. And “Pull the Sun” has that reasonable Danzig croon within but it somehow feels a bit like too little too late.
So now we can address some simple issues. Why spend three years over recording nine songs, with five different drummers? And the production is a mess, if not non-existent. You can hear the difference between tracks, where some come across as a normal sounding environment, and others sound like they are demos being recorded on an old four track in the lounge room or garage. Is this a thing? A rebellion against the fact everyone can sound like a pro now with a laptop and a microphone, so we must make this sound like it’s B grade as a two fingered salute to the amateurs of the world? I don’t know, but there’s a difference between ‘stripped back’ and ‘poor production’. This is generally the latter, and it doesn’t improve the album as a result. It also suffers from not having a band as such together to record the album. Along with the five drummers, of which Glenn himself was one, the rest of the guitars are recorded by Glenn along with Tommy Victor. As such, there’s not a lot of individuality there to help influence the tracks in a positive way. It cried out for players of the stature of former band members Johnny Christ and Eerie Von to make their instrumental pieces their own and add their own flavour to the tracks. Because this is basically the same two musicians on all the instruments, that flavour doesn’t tend to seep through.

I started off by asking should we compare Danzig albums from different eras. Mainly I guess that this questions comes across because the early music this band released was and is so impressively awesome that it becomes a difficult thing to equal. While I don’t think this is a bad album, I think the arguments as set out above do not allow it to break free and be as enjoyable as I feel it could be given the basics of the music. While not wanting to hark back on the band’s past, I think a dose of the inspiration of those albums would have spruced this up nicely.

Rating:  “Deep down the sound of a bloody song never ends”.  3/5

Saturday, June 17, 2017

APJSC Under 10 White vs Oak Flats Purple

On a roll after two successive victories, the Albion Park Under 10 White soccer team headed for the green pastures of Panorama Oval to take on the Oak Flats Purple team in today's match.

The Albion Park team was on the attack from the outset, and it is obvious the confidence they now have in their ability and in their teammates. The hard work put in by Matt, Shane and Dan at training is showing, and it is great to see all of the kids looking up and passing to their teammates. Their skills in avoiding opponents and then trying to get the ball to the feet of their nearest player have been improving every week, and it is no surprise that they are starting to win games because of it.
Most of the first half was spent in the Albion Park attacking zone, and a couple of early chances went begging with the ball hitting the posts and some swarming close in defense from the Oak Flats team. It wasn't until Josh Peters took a long range shot (with his left foot no less) that he slotted the ball through the defense and the goalkeeper to bring up the first goal of the game. With the deadlock broken the team found their confidence, and Jack Tate soon wound his way through the Oak Flats backline before lining up a huge kick from short range to make the score 2-0.
Belle Kadwell and Brock Young were working very hard in the midfield, consistently cutting off any breaks from the opponents and getting the ball back to their own forward line, Belle in particular had no qualms about going in and forcing the ball off her direct opponent. Jack and Claire Kadwell were both finding space, with Claire making great passes to her fellow forwards. One of these found Josh alone again and he cracked it through for his second goal of the half. Up the back in defense Ky Van Helden hadn't seen much of the ball, but one of his booming clearing kicks set the team up again, and Josh's strike was fumbled by the keeper over the line for Josh to complete his hat-trick. At half time Albion Park White led 4-0.

Any over confidence should have been scrubbed from their conscious immediately after the break, when Oak Flats managed to get a ball through new keeper Ky within 30 seconds of the restart, and the score was now 4-1 and certainly not over.
The forward line had been revamped with Zoe Middleton coming out of goal and joining Brock and Claire up front, supported by Noah Black and Jack-Ryan Eberwein in the halves. The game was spread over more of the field in the second half, but Claire, Zoe and Noah all had plenty of chances to attack the goals, with a number of near misses. Finally it was Noah who was able to break the shackles and send the ball pass the keeper to make the score 5-1.
What best describes the way this team is improving is the final two goals of the game. Indy Middleton fighting off an ankle injury made a great pass down the left wing which was taken by Noah, who then made a perfect pass to the goalmouth to his unmarked teammates. Zoe just fell short of getting her foot to the ball, but was backed up by Jack-Ryan who crushed home the ball for a wonderful team goal. The final goal came from a corner, and while in recent weeks there have been a number of near misses from corners, today they team got it right. Jack-Ryan's corner was perfectly placed, and it weaved its way through to the back of the box where Claire was waiting and she nailed home the ball into the back of the net with style. The final score was 7-1 to the Albion Park side, their third successive victory.

Player of the match today was a very deserved Claire Kadwell, whose consistency in recent weeks has been fantastic, which was rewarded today with that final goal. Also great work today from the peanut gallery, who seemed to watch about 50% of the match, and most could probably say with honesty for a change that they had seen their child do something great on the field, rather than gas-bagging their way though events on the field. Well done all.

Thought For the Day