The musings and rantings of a simple man who looks to build his family in the wilds of West Kiama.
Thursday, July 6, 2017
Revisiting The Twilight Zone: S05E22: An Occurrence at Owl Creek Bridge
This is a unique episode of the Twilight Zone, as it was actually a short film shot in France which won the Academy Award for Live Action Short Film in 1963. It was then bought by Rod Serling’s production team to air as a part of their series. It does in its own way fit straight into the mantra of the series and doesn’t feel out of place.
It is impressive given the almost zero dialogue that takes place, and yet you can easily discern the plot of the episode and how it is progressing. The fact that it is based on a story set in American and written by an American but film and acted by Frenchmen doesn’t affect it at all. The excellent portrayal of the protagonist by Roger Jacquet gives the whole story its impetus, as he tries to escape from his fate after the rope he is being hanged by snaps, allowing him to drop into the river below from where he escapes his bonds and looks to make his way home. It is expertly filmed, and the story never lags and keeps you interested in the finale right up until the final plotline is revealed.
Perhaps it is a cop out to have such a well-executed, and award winning, short film as an episode in a long running series, but given the story’s nature it is a worthy addition, and more than acceptable within the Twilight Zone universe.
Rating: Loosening the noose. 5/5
Wednesday, July 5, 2017
1004. Spandau Ballet / True. 1983. 3.5/5
Perhaps one has to be a true child of the 1980’s decade to fully appreciate Spandau Ballet’s third album. Or even to like it. Or to love it. Because it has everything that firmly anchors it to that period of music. You get the full saxophone treatment here, mixed with the keyboards, piano and other percussion, along with the solid drums, bass and guitar that hold the additional pieces together. There is no rock and roll here, instead a harmonic mix of new wave and R&B caresses its way through the speakers in a way that is strangely alluring.
Given the way my taste in music diverged and hardened quite conclusively after 1985, some may find it difficult to believe that I still enjoy this album. When it was released however, my love of music was mostly dictated to what I heard on the radio, and back in 1983 these style of song that dominates this album was what was being mixed in with the synth pop that was infiltrating the airwaves. While I never owned a copy of this album at the time, friends of our family had it on vinyl and was often the go-to album when we went to their house for get-togethers, and so I did hear it quite often. Eventually I had a taped cassette version that was played when there was nothing on the radio or the mood came upon me. It was a different side of music from that of the other bands I had found at that time, which included Queen, The Police and Midnight Oil.
In today’s world of course, what this album brings with it is nostalgia, and the memories of the time it was released, which for me was the dominant part of Year 8 and 9 in high school. That remains one of the great joys of music, that you can not only enjoy it for enjoyment’s sake but for the memories it can revive. And that is one of the major drawing cards this album retains for me today, the memories it brings back of that time.
As for the songs themselves, some rise above others and some do even more than that. “Foundation” for instance is so very 1980’s, driven along by the keys and synth and probably too much of Gary Kemp’s backing vocals which dominate what could be termed the chorus of the song. It’s not that he can’t sing, but when you listen to Spandau Ballet what you are listening for is Tony Hadley’s amazing voice. He is the voice of Spandau Ballet, and so “Foundation” becomes a slightly less exciting so because of the shared vocals (and yeah, it is slightly annoying as well). “Code of Love” does tend to drag out a little too long without making much headway. Other songs such as “Heaven is a Secret”, Communication” and “Pleasure” all hold their best qualities in tow, moving along at a good tempo and giving the band members their opportunity to be heard in the mix.
The two superstar tracks of course are “Gold” and the title track “True”. This is where the band is at its best. Tony’s vocals are front and centre, and the sax is a major part without dominating. The faster build up and jaunt of “Gold” settles nicely with the slower pace and more commercially pleasing sound of “True”. That these two songs both come at the conclusion of Side A and Side B of the album also fits perfectly into the framing.
Almost 35 years on, True still stands as a testament to Spandau Ballet’s importance to the British pop scene in the early 1980’s. And despite my standard musical listening since this album’s release being in an entirely different ballpark, I still think this is an excellent easy-listening album that is worth your attention.
Rating: “After the rush has gone I hope you find a little more time, remember we were partners in crime”. 3.5/5
Given the way my taste in music diverged and hardened quite conclusively after 1985, some may find it difficult to believe that I still enjoy this album. When it was released however, my love of music was mostly dictated to what I heard on the radio, and back in 1983 these style of song that dominates this album was what was being mixed in with the synth pop that was infiltrating the airwaves. While I never owned a copy of this album at the time, friends of our family had it on vinyl and was often the go-to album when we went to their house for get-togethers, and so I did hear it quite often. Eventually I had a taped cassette version that was played when there was nothing on the radio or the mood came upon me. It was a different side of music from that of the other bands I had found at that time, which included Queen, The Police and Midnight Oil.
In today’s world of course, what this album brings with it is nostalgia, and the memories of the time it was released, which for me was the dominant part of Year 8 and 9 in high school. That remains one of the great joys of music, that you can not only enjoy it for enjoyment’s sake but for the memories it can revive. And that is one of the major drawing cards this album retains for me today, the memories it brings back of that time.
As for the songs themselves, some rise above others and some do even more than that. “Foundation” for instance is so very 1980’s, driven along by the keys and synth and probably too much of Gary Kemp’s backing vocals which dominate what could be termed the chorus of the song. It’s not that he can’t sing, but when you listen to Spandau Ballet what you are listening for is Tony Hadley’s amazing voice. He is the voice of Spandau Ballet, and so “Foundation” becomes a slightly less exciting so because of the shared vocals (and yeah, it is slightly annoying as well). “Code of Love” does tend to drag out a little too long without making much headway. Other songs such as “Heaven is a Secret”, Communication” and “Pleasure” all hold their best qualities in tow, moving along at a good tempo and giving the band members their opportunity to be heard in the mix.
The two superstar tracks of course are “Gold” and the title track “True”. This is where the band is at its best. Tony’s vocals are front and centre, and the sax is a major part without dominating. The faster build up and jaunt of “Gold” settles nicely with the slower pace and more commercially pleasing sound of “True”. That these two songs both come at the conclusion of Side A and Side B of the album also fits perfectly into the framing.
Almost 35 years on, True still stands as a testament to Spandau Ballet’s importance to the British pop scene in the early 1980’s. And despite my standard musical listening since this album’s release being in an entirely different ballpark, I still think this is an excellent easy-listening album that is worth your attention.
Rating: “After the rush has gone I hope you find a little more time, remember we were partners in crime”. 3.5/5
Wimbledon Embarrassment Should Be the End for Kyrgios and Tomic
In the long run, there really is no need for me to write anything here. I wrote off Bernard Tomic and Nick Kyrgios a long time ago. I don’t care that they are Australians, playing on the world stage. There is simply no way you could justify lending your support to these two enormously egotistical selfish arrogant corkheads. Everytime they step on to a tennis court, you not only expect to see them lose badly, but also pout about it, yell at spectators and umpires, and go in to press conferences like spoilt children and speak of how they don’t care about tennis.
The sooner the Australian media dump them and ignore them the better. Thanasi Kokkinakis (Juan Martin del Potro) and Jordan Thompson (Albert Ramos-Vinolas) and John Millman (Rafael Nadal) all got drawn against better players and at least gave it their best with no excuses. That’s the luck of the draw. These other two boofheads just don’t have it mentally to be the best, and seem to be happy just taking their cash and carrying on like idiots.
Take the hint Tomic and Kyrgios. Australia – and pretty much the world – are over you. Go hide under a rock somewhere and leave us in peace.
Tuesday, July 4, 2017
#31DaysOfScotch #2017 #Day4 #TD312
Here's to you Timmy D. Three years on and we still miss that cheeky bloody grin. Cheers to you Poker Magoo #31DaysOfScotch #Day4 #TD312
Revisiting The Twilight Zone: S05E21: Spur of the Moment
The thought is there for the story, and is structured well enough that the story moves along without complete predictability, but there’s just that level of acting here that doesn’t quite get it right, that doesn’t quite instill the mood of the story and the characters to make it as believable as it could be.
Trying to tie in the two sides of the story without giving away the whole plot in one sitting is not an easy thing to do, but you need to have some investment in the characters as they are plotted, and none of the characters in this episode are particularly likeable at all, nor do you feel much remorse or sympathy for any of them. The fact that the older version of Anne is trying to save herself from what she sees as her own disappointing failure in her present time s amusing enough, and the fact that she can remember herself being chased by who turns out to be herself in the future is where the story ties in. It’s just that you don’t really want her to change her own present, because she doesn’t seem to deserve to have it changed. Fortunately the Twilight Zone doesn’t allow her that pleasure.
Rating: Ride like the wind! 3/5.
Monday, July 3, 2017
#31DaysOfScotch #2017 #Day3
Series 3 (more than this first episode) is just around the corner #31DaysOfScotch #Day3 #RickAndMorty #Season3
1003. Led Zeppelin / Led Zeppelin II. 1969. 3.5/5
I suppose you can talk about the legacy that Led Zeppelin has until you are blue in the face, but if the style of music just isn’t what you enjoy you still aren’t going to rate a song, an album or a band as highly as those who are obsessed with that artist. Led Zeppelin II is one of those albums that the fans insist you must listen to, and in essence that you must love as much as they do, and immediately. No doubt it is fine to say that you must listen to this album because you must love it, but not everyone will. That said, this is an important album in the history of music, and while my ‘love’ of the album will not reach the heights of those biggest fans of the band, I can fully appreciate its relevance and position in the history and development of music.
For me, this is a pleasing next step in the band’s growth, and given that the first two albums are only separated by a matter of months in regards their release, it is interesting to note the progression made between the two releases. The heavy blues influence is still there for all to hear, especially in songs such as “The Lemon Song” and “What Is and What Should Never Be”, but the take on songs such as “Ramble On” and “Heartbreaker” is more progressive in that they still have that blues base but they have moved to a further rock influence – not completely mind you, but further along that track that they had been.
Listening to the album it very much feels as though it was written ‘on the run’, with most of the songs having the feel that it’s a freeform writing style, stopping and starting into solo breaks for all members. It’s a style very much of that age, where bands on stage happily jutted away between songs or even in the middle of songs, making it up as they went. Many of the songs here sound like that is just what they are doing, with a flowing structure rather than anything concrete. In the long run, it must have been almost impossible to tame and keep in check the four musicians in the band as they move towards the new decade. John Bonham just wants to hit those drums hard and fast and in a seemingly random order that falls into place perfectly. “Moby Dick” gives him that outlet, once both John Paul Jones and Jimmy Page have completed their own riffing at the start of the song. Both of these two musicians also sound like they are looking for greater outlets for their talents, and the morphing from straight blues backed songs to something a bit harder comes through. Combined with those honeyed vocal chords of Robert Plant you have a band that is bursting out of its original cocoon.
“Whole Lotta Love” is still the star of the show with that Page guitar riff, Jones’s cool bass line underlying the song, Bonham’s wonderful drum rolls along with Plant’s super vocal performance. It feels heavier than it actually is, but has wider musical appeal regardless. “What Is and What Should Never Be” has Beatles-ish qualities throughout, perhaps not a huge surprise given the era and the origin of the band. “Thank You” has both Deep Purple and Pink Floyd similarities, again no surprise given the heritage of all of those bands, and having all come from the same era, while “Heartbreaker” is dominated by the Page riff and the Plant vocal line.
I am happy to admit in reviewing and rating here that I can appreciate the great qualities of Led Zeppelin, especially the first half of their albeit shortened career, but I have never been a huge fan overall. That’s just my own taste, and much of their music retains a lot of their blues roots that doesn’t excite me. When they break out and reveal those songs that show more of a hard rock or even heavy basis, I can appreciate them more. Led Zeppelin II is for me a much more accessible album than their debut, and given the right mood I can listen to it from start to finish without any qualms whatsoever.
Rating: “Hey fellas, have you heard the news?” 3.5/5
For me, this is a pleasing next step in the band’s growth, and given that the first two albums are only separated by a matter of months in regards their release, it is interesting to note the progression made between the two releases. The heavy blues influence is still there for all to hear, especially in songs such as “The Lemon Song” and “What Is and What Should Never Be”, but the take on songs such as “Ramble On” and “Heartbreaker” is more progressive in that they still have that blues base but they have moved to a further rock influence – not completely mind you, but further along that track that they had been.
Listening to the album it very much feels as though it was written ‘on the run’, with most of the songs having the feel that it’s a freeform writing style, stopping and starting into solo breaks for all members. It’s a style very much of that age, where bands on stage happily jutted away between songs or even in the middle of songs, making it up as they went. Many of the songs here sound like that is just what they are doing, with a flowing structure rather than anything concrete. In the long run, it must have been almost impossible to tame and keep in check the four musicians in the band as they move towards the new decade. John Bonham just wants to hit those drums hard and fast and in a seemingly random order that falls into place perfectly. “Moby Dick” gives him that outlet, once both John Paul Jones and Jimmy Page have completed their own riffing at the start of the song. Both of these two musicians also sound like they are looking for greater outlets for their talents, and the morphing from straight blues backed songs to something a bit harder comes through. Combined with those honeyed vocal chords of Robert Plant you have a band that is bursting out of its original cocoon.
“Whole Lotta Love” is still the star of the show with that Page guitar riff, Jones’s cool bass line underlying the song, Bonham’s wonderful drum rolls along with Plant’s super vocal performance. It feels heavier than it actually is, but has wider musical appeal regardless. “What Is and What Should Never Be” has Beatles-ish qualities throughout, perhaps not a huge surprise given the era and the origin of the band. “Thank You” has both Deep Purple and Pink Floyd similarities, again no surprise given the heritage of all of those bands, and having all come from the same era, while “Heartbreaker” is dominated by the Page riff and the Plant vocal line.
I am happy to admit in reviewing and rating here that I can appreciate the great qualities of Led Zeppelin, especially the first half of their albeit shortened career, but I have never been a huge fan overall. That’s just my own taste, and much of their music retains a lot of their blues roots that doesn’t excite me. When they break out and reveal those songs that show more of a hard rock or even heavy basis, I can appreciate them more. Led Zeppelin II is for me a much more accessible album than their debut, and given the right mood I can listen to it from start to finish without any qualms whatsoever.
Rating: “Hey fellas, have you heard the news?” 3.5/5
Revisiting The Twilight Zone: S05E20: From Agnes – With Love
There as always a predilection when it came to machines and computers that once they became self-aware, what kind of emotions would they be able to evolve and how would those affect the humans who had built them. This episode goes some way to exploring that with the subject of love.The episode cleverly bookends itself, with the character of Elwood coming in to placate the super computer that had been going haywire with its current programmer. His promotion to the post is then quickly followed by a series of events that are promoted by the suggestions offered by the computer Agnes, whose advice seems to be constantly proving to be bad news for Elwood in his pursuit of his work colleague Millie. Of course, what is patently obvious to the viewer but for some reason not the protagonist is that the computer has fallen in love with him, and looks to break up this budding relationship at every turn. The obvious occurs, and we are left with the same scenario as we walked in on at the start of the episode, except this time it is Elwood leaving in complete disarray, leaving the next poor sap to come in and take his place.
The episode is fun enough, but in the end more annoying than enjoyable, as it sits somewhere between comedy and drama without leaning enough to one direction to make it more enamouring.
Rating: Computer games. 3.5/5
Sunday, July 2, 2017
Farewell Twelve
With the airing today of the twelfth and final episode of the current series of Doctor Who, "The Doctor Falls", it is with the sadness that Peter Capaldi's portrayal of The Doctor is at an end. Though he will appear in the Christmas episode to pass the torch to his replacement, today's episode was the final where he is the number one component.
Not only that, we have lost Bill Potts as the Companion and in all likelihood Nardole as Companion as well, which is a terrible shame, as Bill had been a terrific inclusion after the harsh and devastating years of having to put up with Clara Oswald, while Nardole's humorous interjections had added quite a lot throughout the series. And what of Missy, who had been, overall, quite watchable during the Twelfth Doctor's storylines. It looks as though it will be a clean sheet for new front runner Chris Chibnall when he takes over for the next series.
More than anything else, I will absolutely miss Peter Capaldi as The Doctor. His reign has been magnificent and, I believe, he has been one of the very best portrayals of The Doctor.
The Doctor Falls, long live The Doctor.
Saturday, July 1, 2017
Albion Park JSC Under 10 White vs Coledale White
Sport can be a cruel mistress. Often you can have little go your way, and yet you can fight to the edge of victory, only to have it taken away from you. The brave showing today from the Albion Park Junior Soccer Club Under 10 White team epitomised these words as they fell to a 6-4 loss at the hands of Coledale White at Terry Reserve.
Forced to play with only eight players against the full complement of nine for their opponents, the Albion Park team was behind the eight ball from the very start. With some enterprising and attacking play the Coledale team skipped away to a 3-0 lead within the first seven minutes, and there was every chance the match was going to be a blow out. However, as has happened so often this season, the park team fought back bravely, and began to find some gaps in the Coledale defense. Both Noah Black and Ky Van Helden had great shots on goal only to be denied, before Noah finally found a way through to make the score 3-1. A couple of minutes later some terrific lead up work from Noah and Zoe Middleton got the ball in to Ky, who slotted home the chance, and despite the fast start of their opponents the Park had dragged them score back to just 3-2 down. On the stroke of half time however Coledale took advantage of their extra player and through a great lead up got their fourth of the match, and as a result went to half time with a 4-2 lead.
The Albion Park reset themselves at the break, with both coach Shane Black and Spare Parts Everything Man Andy Middleton reminding the team that they were always the fitter team in the second half, but still conceded an early goal in the second half, leaving them behind at 5-2. But this team doesn't know how to lay down and die, and they demonstrated that again here. In the midfield Jack Tate and the switching pair of Claire and Belle Kadwell were tireless, running down their opponents and not giving them a moment's peace when they had the ball. Their terrier-like work meant that the ball began to get forward, and chances began to come. Faced with a high bouncing ball, Josh Peters managed to get his knee to the ball, lobbing it over the keepers head for a goal to bring the deficit back to 5-3. From here there was some fantastic play, with Ky, Zoe, Jack, Belle and Josh all having great chances to get a goal, but all just missing. The forward pressure was fantastic, and was helped by Jack-Ryan Eberwein in goals who not only kept the ball out but used his big boot to thump the team back into attack from their own end. Ky had a shot at an indirect free kick that just missed, and a corner kick almost found its way in from Zoe. Finally, Josh beat three men on the right wing, and his cross was met by a great sliding dive from Ky to get his boot to the ball and into the net, and it was 5-4.
Andy Middleton had taken on the shepherding role, and encouraged the kids to "go for the win!" During the match he alternately pushed his charges to "have a slap at goal", "cream it into the goal" and "give the ball a smack at the goal". Unfortunately for the Park kids, an attacking raid left holes in the field, and a wayward ball meant Coledale snuck away and scored a goal in the dying moments that sealed the win. As Andy maligned, "Oh well, you've got to bust a few eggs.... what's that expression?..." Coledale ran out winners 6-4.
Player of the day was awarded to Ky Van Helden for his terrific match, but all the kids should be proud of themselves. Fighting with a player less on the field for the whole match they were all magnificent.
Andy and Family Come to West Kiama
It was like it was yesterday. Apart from actually catching up on what had happened to each other in the past two decades, everything else was the same. It was a fantastic few hours. He is doing amazing things in academia in the US at the University of Florida.
What's even funnier is that his son found his nirvana, being able to play cricket with someone else apart from his father, and on turf as well! Not many kids playing cricket in Florida. The game was hard fought, and that golden moment came, when Andy was bowled by Ryan second ball through the gate. Great stuff.
19 years is a long time. I hope it isn't 19 years before we can see each other again. Katherine was begging to come back tomorrow...

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