Thursday 17 October 2024

What's the interesting bit?

You may have seen this recent Radio 2 countdown of the Greatest British Groups ...

 https://www.bbc.co.uk/mediacentre/2024/radio-2-ultimate-british-group-result

... which is all pretty predictable.

About 10 years ago, I made my own such list. Although it has a fair bit more indie, it's hardly significantly more interesting and diverse, I regret to say. 

https://101songs.blogspot.com/2013/02/the-great-british-band-its-official.html

The Radio 2 list has no black artists (apart from Mel B in the Spice Girls), only two primarily female groups (though also Fleetwood Mac and The Beautiful South), and only one, the Manics at 30, from anywhere but England.

No doubt if it had been compiled by something other than Radio 2 listeners, the list would have been a little more varied, but one can hardly complain. It all makes solid sense. They're all - nearly all -  very successful groups with long and varied discographies.

Anyway, that's all by the by. If I was in a different mood, maybe I'd analyse why the mainstream history of British music remains, primarily, the story of suburban middle-class boys, but, that being so, I started thinking about the Rolling Stones, who were second on my list and third, behind Queen, on this list, and I thought, well, the Rolling Stones are one of the least British of the great British bands (Fleetwood Mac, who are 5th, being barely British at all), and that is probably a factor in their vast and lasting success. Only for a brief period was their something strongly British/Londony in their music.

And then, I thought, they were at their best when they were quite British ... and I started thinking about their best ... and then, the question became .... what's the interesting bit?

What's the interesting bit about the Stones, or, if you will, the bit that is hard to explain?  If you had to say just one thing ... i think the interesting bit is just how good their songs were for a short while... which sounds completely stupid. i know. But people talk about them starting out as blues copyists, they talk about the sexual magnetism of Jagger (the weird dichotomy of Jagger is the second most interesting bit), the drugs, the danger, the deaths, the survival, the comradeship, the arena tours, all that, but the interesting bit, the bit that makes less sense than anything else, is just how good those songs were for a while ... Gimme Shelter, Street Fighting Man, She's a Rainbow, Sympathy for the Devil, Tumbling Dice, You Can't Always Get What You Want ... i mean, those are just incredible songs which burst with range, depth, imagination, beauty, darkness. And i guess it's stupid to say "how did the band who sang 'Get Off My Cloud' sing 'Gimme Shelter'? because they're both great songs, and just as silly to say "and then how did they end up singing 'Start Me Up', because that's a good song too, but there's a direct line from 'Get Off My Cloud' to 'Start Me Up', and 'Gimme Shelter' is something else ...

Maybe it's just me, I wasn't that impressed by the Stones when i was young, the footage of them on Sounds of the Sixties, the stuff they played on the radio, i thought they were ok, but didn't really get it. I think my favourite was 'Get Off My Cloud', actually .... And then i heard 'Gimme Shelter' and 'Street Fighting Man', and I finally got it, the extra level the band had ... maybe it was Mick Taylor ...

... anyway, I could go on about the Stones, but i think ...

what's the interesting bit? ...

is a good question about any band. Imagine someone who is not into rock'n'roll but fancies themselves as smart is trying to get to grips with all the big acts, without actually listening to them, and they asked you, tell me, in one sentence, what's the interesting bit ...

Now i'm torn as to whether to go through all those bands and say what i think the interesting bit ... i'd imagine it's different from what other people think the interesting bit is sometimes, and sometimes it's just the same...

no, I won't do that. I'll just do a playlist of one song from each band ... i mean, that's ok, isn't it?

Penny Lane - The Beatles

Don't Stop Me Now - Queen

Gimme Shelter - Rolling Stones

Wish You Were Here - Pink Floyd (a band about whom there is no interesting bit ...)

Songbird - Fleetwood Mac

Kashmir - Led Zeppelin 

Patience - Take That

Slide Away - Oasis

Yellow - Coldplay

Can't Get it Out of My Head - ELO

Won't Get Fooled Again - The Who

Enjoy the Silence - Depeche Mode

Down in the Tube Station at Midnight - The Jam

True Love Waits - Radiohead

That Joke Isn't Funny Anymore - The Smiths

Turn it On Again - Genesis (i mean i don't know, even tho Best of Genesis was one of the first tapes i ever bought ...)

Suburbia - Pet Shop Boys

In Between Days - The Cure

The Deal - Stephen Duffy (for Duran Duran ... sorry, i just can't)

My Girl - Madness

The Promise - Girls Aloud

Ol' Red Eyes is Back - The Beautiful South

Days - The Kinks

You Win Again - The Bee Gees

Edge of Heaven - Wham!

Death or Glory - The Clash

Badhead - Blur

Stop - Spice Girls

So Lonely - The Police

Prologue to History - Manic Street Preachers

The test for whether it is a good list they have created is that this is not a fun, interesting, playlist, is it? Ah well ...


Tuesday 15 October 2024

Acting in LOTR - extra bit

There was something I meant to add to the last bit I wrote about the mistake with this Rings of Powers series, and all bad big budget fantasy, in not having recognisable actors with gravitas. I thought about the Peter Jackson Lord of the Rings films, why they were such a big deal at the time, why they worked.

I thought about the actors - McKellen, Mortensen, Serkis, Bean, Blanchett, Holm etc etc they knew what they were doing with casting. But. I really thought, you know, Elijah Wood didn't/doesn't get enough praise for that.

He never won or was nominated for any major acting awards, and the whole thing hangs on him. As the Rings of Power show with these Harfoots, you can go really wrong. The other Hobbit actors - Sean Astin, Dominic Monaghan, Billy Boyd - they're all basically light relief. Elijah Wood needs to play a real film hero who audiences massively invest it in from the start, for adults, for kids, for diehard Tolkien fans.

The whole thing could have fallen at the first hurdle, for all the stunning visuals and grandeur, if they'd miscast Frodo. He's really really good in it. In a nine hour film, most of the way through. Has to display a lot more complicated emotions than anybody else in the films.

Anyway, that's all. It got me thinking about other great undersung performances of our time. Jack Black in School of Rock. Should have won all the Oscars. Brad Pitt and Frances McDormand in Burn After Reading. Steve Coogan in Philomena. Bob Hoskins in TLGFriday (not sure that's so undersung or "of our time", but still, one of the greatest acting perforances of all time ...


Saturday 12 October 2024

Selling the fantasy

I have recently finished 'Lord of the Rings: The Rings of Power' Season 2, which I by and large enjoyed and thought a good step up from the pretty dire first series. Having said that, I read this pretty scathing takedown and can't say I factually disagree with much of it -  I was just a bit more able to put a positive spin on the flaws this time around.

I think I just was determined to enjoy this series, since I'd put the time in. 

Not everyone has put the time in, clearly, It has been much less of a success, both critically and commercially, than hoped. Though several seasons were planned, it is not certain they will get that far. All in all, unless something drastic happens, it looks like going down as a major flop.

There are lots of reasons for that, but I'm just going to consider one of them.

Which, ironically, begins with Game of Thrones, the show that made Lord of the Rings and all Lord of the Rings-related screen content seem a bit green. 

I wasn't as down on the last series of Game of Thrones as most people. I thought most of the angry, self-important, everyone-thinks-they're-an-expert-on-character-arc criticism was nonsense, and also ignored the fact that not every episode in the first few series was a work of genius, far from it. But one simple comment I read that did hold true, and I can't remember if it was from someone like Conleth Hill himself, or a veteran TV critic, was that, naturally enough, as the story had come to a point, it had focused more and more on the "central" characters, the heroes, and most of the significant support characters had already been either killed off or sidelined. Makes sense, but the problem was that those were the great actors. 

The reason Game of Thrones worked, seemed like a TV masterpiece for a long time, was that these lines were being sold to you by Charles Dance, Diana Rigg, Julian Glover, Liam Cunningham, Stephen Dillane, Ciaran Hinds, David Bradley, Jonathan Pryce, Conleth Hill, Aidan Gillen, and on and on ... gravitas. Most of the young actors on Games of Thrones were decent, but looked much better by association, and it's not a surprise that none of them have really, really become a massive star afterwards. 

They couldn't quite carry the last series.

And what of the Star Wars spin-offs, Again, no accident that the one that people think is superb is the one where they spent money hiring Fiona Shaw, Stellan Skarsgaard, Andy Serkis, Anton Lesser, Denise Gough, Ebon Moss-Bachrach etc. make these lines work for adults, you need actors who can carry it off ...

So that's the obvious massive mistake they made with Rings of Power. They spent all that money, but didn't go big on the serious, reassuring, stage presences. Notwithstanding there was, in the first series, some quite bad acting, and there is arguably some seriously off casting in major roles, there were just not enough of, you know, David Morrissey, Alun Armstrong, Joanna Scanlan, David Harewood, Geraldine James, etc in the supporting roles.

They had Peter Mullan, and, you know, those bits were good. They've upped it a bit in the second series - Ciaran Hinds, Kinnear, but, it's too late really. That sense that you could and should take this show seriously is long gone.

Sunday 6 October 2024

Novel, sport, sport

This will start in one place and end in a totally different one, and the two things won't be connected apart from by my train of thought. Sorry. This is just an attempt to replicate a reverie from a few evenings ago which I thought was interesting in a self-indulgent way - nothing else.

I recently read the novel 'The Netanyahus', by Joshua Cohen. which won the 2022 Pulitzer Prize. I enjoyed it very much. It's a fictionalised account of a real incident in which Benzion Netanyahu, Benjamin Netanyahu's father, went to a US university to be "interviewed" for a job, taking his family with him.

It's a short, clever, funny, book - reminding reviewers of the likes of Roth's 'The Ghost Writer' and Nabokov's 'Pale Fire'. It's a lot easier to follow than 'Pale Fire', though. That's the aspect I want to write about, or rather lead on from.

I whistled through it. I have not been whistling through books at all, lately, I've found reading something of a struggle. Now - strong caveat - my eyesight has deteriorated in the last couple of years and it's only recently that I'm fully committing to the new reality of reading glasses - I think 'The Netanyahus' was one of the first books that I read entirely with glasses, so that will certainly have helped my sense of clarity.

But also, as I read it, I felt that it was very precisely "my thing". Long sentences, long words, academia, history, ideas, assumed erudition, allusion, absurd humour, sarcasm. It was clever but not complex, nor deep within the human psyche - it was brisk, smart and clear. Far from trivial, full of big ideas, but something you could react quickly to and run with.

And what it reminded me of, funnily enough, was the realisation pretty late in the days that I played competitive cricket, as a fully grown young man, that, as a batter, I was best against fast bowling. As fast as you'd get in amateur league cricket. 75/80mph ish. It was clear what was coming, I didn't have to think about it, I didn't have to hit it hard to make the ball go a long way. I could use my wrists to guide the ball at will through the infield of the off side.  The comparison to the book is that what might have been to some people the intimidating, tricky stuff was, in my experience (though it took me a long time to realise it), the simple, enjoyable stuff.

... so anyway, I'm not going to talk about books anymore, I'm going to talk about sport, sorry ... and, even worse, I'll talk at length about myself playing sport, although, I will, I think, happen to end up with a fairly interesting universal insight into football which I hadn't pinned down before, so hold on to the end if you can.

So, anyway, I was thinking about my last season of playing competitive cricket regularly, how I found I was really good against quick bowling, and I played several good, enjoyable innings, both on the counter-attack and to save games. Remembering this, I asked myself, why, then, did I give up playing the sport I'd loved more than anything else as a child, just when I'd really found my grown-up batting groove?

I'd grown up able to both bat and bowl fairly well, but been pushed more to be a bowler. I remember some youthful disgruntlement at not batting as high up some orders as I thought I deserved, but, also, as I moved my way through my teens, was very happy to bat 7 or 8, as that seemed a place where there was not too much pressure but you could still have a massive impact, and you might well be better than people thought you were going to be. And if I failed, or didn't get a bat, bowling was more of a guarantee. 

I remember speaking to (Rev) Robert Stanier when we were both young adults playing league cricket, and he'd just been opening the batting and out cheaply, and him saying "you know, if you're just a batsman, it's a bit miserable. You've got a job, you work all week, you give up your whole Saturday to play cricket, and if you're out second ball, that's it, that's your day".  Whereas as a bowler, I'd get minimum 3 or 4 overs (if I bowled terribly) but usually 10+ overs. It was worth the subs, worth the day.

I loved bowling, and I was good at it. Some days I'd bowl 20+ overs.  I was reliable, and tireless. A quarter of the day's play belonged to me.

And I loved fielding, particularly boundary fielding. I loved chasing the ball, throwing myself around. Above all, I loved throwing the ball. I could throw a cricket ball like a demon.

My brother was even better. Years later, I saw someone we used to both play with, who asked after my brother, and said, "Jesus, your brother had an arm on him". So did I. But I lost my arm.

My own fault. In winter nets, in a cold sports hall, 23, I think, still had not suffered any serious injuries. Practising bowling spin in winter nets was a bit boring and pointless because it was very hard to extract spin from the mats, and I didn't have any new tricks to teach myself or a groove to get into so long before the actual season started, I was just there to serve the batters. So I'd roll up and bowl medium pace. I remember Tom, the captain, saying, "you should still be practising spin" but it just felt a bit thankless in February. Anyway, I turned up, didn't warm up, bowled seam, tore my bicep. Didn't know that's what it was, it just hurt a lot  In fact, I still don't know that's what it was, because, like the fkn idiot I was, I did nothing about it, just assumed it would sort itself out in a couple of weeks. But it never did.

Within a couple of months, I could, kind of, bowl again. Kind of. It was better on warm days. It was painful, and I couldn't do it consistently for 10, let alone, 20 overs anymore, or confidently apply the subtle variations that are the essence of an orthodox spinner's craft. And I could never throw a cricket ball again. Still can't. If ever I've played since, I've either sent the ball in with a bowling action, a pitiful underarm, or an even more pitiful wobbly overarm born of fear and weakness which i could hardly get more than 15 metres.

Silly as it sounds, hurling a cricket ball was part of my identity. Possessing that knack for explosively whipping/ripping the ball into the ether with some unidentified combination of muscles. 

I remember Tom, the season after I'd injured myself and I sent a wobbly underarm in, muttering sadly to the opposition batsman "it's such a shame, he used to have the best arm in the club" ... and thinking, dammit, i did. What's become of me ... 24 and finished...

So that's why I stopped playing cricket, I remembered, because I knew the hit-or-miss experience of being a specialist batter would not be enough. I wasn't going to be able to bowl 20 good overs a day anymore, and now I hated fielding. My ground fielding had deteriorated, and I couldn't throw anymore. If everything else went badly in a day's cricket, there had always been throwing the ball! Now I shuddered when the ball came to me.

There had been the pleasure of it in and of itself, and then there was the showing off part. My experience is that there are few more guaranteed ways to impress a group of fellow males than throwing a ball a long way. Playing cricket, or rounders, or podex, just hurling it, and hearing the gasps. It sounds ridiculous, but it did happen. Finchy from The Office was on to something. 

The ability to surprise people.

Right, I'm switching tack again. I did say it was a meandering train of thought. I realised that surprising people was the part of playing sport that I enjoyed the most. And that's not always the best thing.

Most sports are a combination of consistently doing what's expected over and over again and, at just the right moment, doing the unexpectedly. That's the key to success, whether that's Shane Warne, Roger Federer, Pep Guardiola, Keely Hodgkinson. Playing to your strengths, wearing the opposition down, then, at just the right point, taking them by surprise (even if that surprise is not, from a distance, a surprise).

The problem with me when I played football was that the surprise became everything. I always wanted to do the unexpected. Practically speaking, that meant looking for an unlikely, high-percentage pass, rather than a safe pass, and it meant dribbling. Dribbling was my strength and my weakness. The genius of the great dribblers, like Messi, is that although he's done the same thing 10,000 times and a defender,  theoretically, knows what he's going to do, in that millisecond that he does it, his bodily movements surprise yours. He makes the defender put their body and their balance in a place where he can move away from it. I was no Messi, but I understood, instinctively, that dribbling was about balance and timing, and some unexpected combination of the two. And, much to the frustration of all team mates on all the pitches through all the years, that was the feeling that I played football for. To wait, wait, wait, slow, slow, slow, feint one direction, dart the other. Feel the surprise. Slow down play, jog, make a defender come to me in order to get away from him. Great when it worked.

But that is how you dribble, at least. In as much as that was the aspect of football i was good at, i had the right fundamentals. The problem is, I applied the same principles to the other parts of the game.

And that's the part that is, I think, interesting to me now, that I've only just truly pinpointed as "why I was not good at football when i should have been".

I understood that effective attacking play was about the element of surprise, but, overwhelmingly, the element of surprise for goal scoring is the opposite of what it is for dribbling. To beat a man, you wait until the last moment, you lure them as close as you can, you slow time down. Not always, but mainly. 

The best way, the most reliable way, to score goals, on the other hamd is to shoot before the goalkeeper has his feet set. Shearer, Kane, Owen, Lewandowski - the pure strikers, it's see ball, get ball, hit ball. If the keeper's not set, the shot doesn't have to be perfectly placed, it just has to be hard and true. Sure, you might occasionally get a beautiful finish where a striker outwaits a keeper, til they've committed and gone off their feet, then sends it the other way or over them, but that's not the percentage way to score goals. But that's what I tried to do pretty much every time. Send the keeper the wrong way. But I wasn't good enough to do that reliably, and so the result might be a miss, or a tackle, or a save, or outthinking myself. A couple of times, a school coach would say to me, "you need to shoot earller", and I would, and for a few weeks it would work, and then I'd forget, and be lured back to waiting that extra second, and wouldn't score again for months ...

It strikes me there are very few footballers that are true dribblers and true finishers. Henry, Messi, Salah, potentially Saka. Brazilian Ronaldo. Even Cristiano Ronaldo, I think, put aside his dribbling instincts, the older and more ruthless he got, and had more of a finishers' mindset. 

The instinct to know when to wait or when to strike early. Something I, and most people that try to play football, never get close to mastering.

Now, back to Pulitzer Prize-winning novels ....

Wednesday 2 October 2024

Bob Dylan's 40 Albums (updated)

It's a whole 4 years since I last checked in on what my favourite Bob Dylan albums are. A lot's changed in 4 years (well, not a lot, but a bit). So, here's the old list, https://101songs.blogspot.com/2020/04/bob-dylans-albums.html here's the new list. 

Basically, I'm looking at which ones have given me the most pleasure in the last four years.

1. Blood on the Tracks

No change there.

2. The Times They are a Changin'

No change there.

3. Time Out of Mind

There's an alternative version released in the last few years which is more Dylan's own idea of what he wanted it to sound like. Can't say I have a preference, i just love the album either way.

4. Street-Legal

The big climber. Just a wild album, underappreciated when it came out. Dylan's last pre-Christian album, his last album, imo, of full, roaring, voice. Quite seedy. Quite thrilling.

5. The Freewheelin' Bob Dylan

6. Oh Mercy

Have come to really love this one. One of the most albumy Dylan albums. Daniel Lanois' production really gives it a mood. The songs are, in their essence, pretty simple, woebegone and lost.

7. Blonde on Blonde

Could have been the Greatest Album of All, without the handful of slightly rubbish songs.

8. Modern Times

9. Rough and Rowdy Ways

This gave me a lot of pleasure four years ago, and still does.

10. New Morning

Another big climber. Just a whole different mood from any other Bob Dylan album. This easy-going guy.

11. Desire

The thing about Desire is the live versions are nearly always better. And Joey is terrible. But sometimes I think the Desire sound is the absolute best Dylan sound.

12. Bringing It All Back Home

13. Shadow Kingdom

The "live" album from a couple of years ago, which is such a lovely thing.

14. Another Side of Bob Dylan

Used to be one of my favourites.

15."Love and Theft"

Has two of my all-time favourites, in 'Mississippi' and 'Po'Boy'.

16. Highway 61 Revisited

According to Apple Music, the 14th Greatest Album of All Time, but also the only one of his in the Top 100 Albums of All Time. I mean, honestly, these people ...

17. Infidels

Turns out to be great. Wish it had Blind Willie McTell on it though.

18. John Wesley Harding

Again, used to be an all-time favourite, but others have overtaken it.

19. Planet Waves

A subtly dark, unhinged album. You can really see the direct line between New Morning and Blood on the Tracks with this one.

20. Shadows in the Night

21. The Basement Tapes.

I've truthfully, always ben more interested in the Basement Tapes than actually enjoyed listening to them.

22. Tempest

23. Nashville Skyline

24. Slow Train Coming

25. Shot of Love

I saw Dylan say for a few years after this came out that he thought it was one of his best albums. But it's not. 

26. Bob Dylan

27. Christmas in the Heart

28. Together through Life

29. Empire Burlesque

Genuinely have started to really enjoy parts of this one. 

30. Saved

Has Solid Rock, which is one of the most rocking for Jesus songs of all time.

31. Under the Red Sky

This is almost the only Dylan album where you feel he's really trying to still be Bob Dylan,  but just has forgotten how to wrote good lyrics. Still, there are some decent songs.

32. Fallen Angels

33. Down in the Groove

34. World Gone Wrong

35. Knocked Out Loaded

Rumour has it it has this title because he knocked it out when he was loaded.

36. Dylan

37. Self Portrait

38. Pat Garret and Billy the Kid

39. Good as I Been to You

My favourite thing about this album is the title. It's a great title

40. Triplicate. 

Just have never really listened it it all the way through, and don't intend to.

Wednesday 25 September 2024

Song 100: The Purple Rain

I keep on giving myself the opportunity to say that I prefer other things to Prince. 

This song, called 'The Purple Rain', is neither by Prince or about Prince. It's got nothing to do with Prince.

It's from this year, 2024, it's by my old favourites The Pernice Brothers, and it's a tribute to singer-songwriter David Berman. In fact, Joe Pernice says it's a tribute both to Berman and two other friends of Pernice who have died, but because of the title and the lyrics, and because Berman is a renowned figure, Berman is the figure who dominates it.

Berman and Pernice were friends - I hadn't known that. It slightly took me aback, as, although they were the same age, I got into their music a long time apart and hadn't associated them with the same kind of thing... though they were both literate, mournful country-tinged Americana writers.

Berman, especially since his death in 2019, has become a significant cult figure, perhaps the most revered of that generation of songwriters, whereas Joe Pernice is, has always been, very marginal. I may be among Joe Pernice's biggest 100 fans in the world! He keeps on keeping on. Little else he's done have I loved as much as the album 'The World Won't End' from 2001, but there'll always be well-crafted, poignant songs on an album Joe Pernice is involved with.

I do really love this song, 'The Purple Rain', though. I love that it does something very obvious, and stately, on the chorus. A slow refrain to remember. Too obvious, perhaps, for a pop classicist to usually employ. 

"Purple mountains in the purple rain" ... ah right, I remember when I heard it, without knowing the background, I thought, of course, this must be about David Berman. David Berman who, as Purple Mountains, released the album 'Purple Mountains' in the summer of 2019 and took his life weeks later.

Berman's lyrics are so good it blows your mind. Both in Purple Mountains and in his previous band, Silver Jews. His voice was limited and he was a rudimentary musician - not a fan of playing live, apparently. Joe Pernice is much more of an all-round songwriter than a musical poet. He started out alt-country but was capable of Beatles-esque, and Smiths-esque pop.

They became friends in the 90s, apparently, taking a writer's course at the University of Massachusetts, and also teaching there. Pernice's band of the time, the Scud Mountain Boys, were involved in recordings for a Silver Jews album, though those recordings weren't used.

Anyway, that's all the trivia. This is a lovely song, about someone you know is living close to the edge. Here's a compilation of the combined works of Berman and Pernice:

Dave and Joe

  • Random Rules - Silver Jews
  • Overcome by Happiness - Pernice Brothers
  • All My Happiness is Gone - Purple Mountains
  • Prince Valium - Joe Pernice
  • Punks in the Beerlight - Silver Jews
  • Grudge F*** - Pernice Brothers
  • She's Making Friends, I'm Turning Stranger - Purple Mountains
  • She Heightened Everything - Pernice Brothers
  • Trains Across the Sea - Silver Jews
  • Judy - Pernice Brothers
  • Bum Leg - Pernice Brothers
  • Margaritas at the Mall - Purple Mountains
  • Somerville - Pernice Brothers
  • Suffering Jukebox - Silver Jews
  • 7.30 - Pernice Brothers
  • I Loved Being My Mother's Son - Purple Mountains
  • Massachusetts - Scud Mountain Boys
  • Nights That Won't Happen - Purple Mountains
  • The Purple Rain - Pernice Brothers
  • The Wild Kindness - Silver Jews

Thursday 19 September 2024

Song 99: Head Home

I still listen to Midlake's 'The Trials of Van Occupanther' often. It's one of my favourite albums, and a very underrated one, I think.

It was acclaimed in specific circles on its release, in 2006, but it's not something you often see in retrospective lists. It was, I think, more of a "hit" in the UK than the US, and it is fair to say it is, at most, a minor cult album.

'Head Home' is the third of eleven tracks. I wouldn't say, though I do love it, it's one of my absolute favourite songs on the album - those would be 'Roscoe', 'Van Occupanther', 'Branches' and 'Chasing After Deer'. Still, 'Head Home', as I'll explain, is the one I want to write about.

What were, and are, Midlake? They began as a band of jazz students, at their most there have been seven of them, the main singer/songwriter until 2012 was called Tim Smith, they make American folk-rock with strong British influences.

They're still going, and have made a couple of pretty good albums since Tim Smith left. He released his first album as Harp in 2023.

Not too much is known about Smith - he seems a pretty reticent frontman. Nevertheless, '...Van Occupanther' is marked out by its singular character. It is, conceptually, one man's vision.

If I'm to give a pat summary of the three albums he made with Midlake - their debut, 'Bamnan and Slivercork' is in the sky, 'The Courage of Others', from 2010, is deep underground, and '... van Occupanther' is on the surface of the earth.

As much as people commented on the brilliant musicianship, the folk and prog influences, the historical and ecological bent, it grabbed me because it made a connection. It was sad, soulful and touching.

There's a fellow on twitter called Scott Innes who traffics in general witty good vibes, often via the medium of photographs of football managers, and I noted his favourite album is '...Van Occupanther'. He wrote once about the appeal of lines like "Let me not be too consumed with this world, Sometimes I want to go home and stay out of sight for a long time".

The album is full of lines like that, slightly off-kilter but weirdly moving.

"Whenever I was a child I wondered what if my name had changed into something more productive like Roscoe, been born in 1891, waiting with my Aunt Roseline"

"We won't get married, cos she won't have me, she wakes up awfully early these days"

"Did you ever want to run around with bandits to see many places and hide in ditches. It's not always easy, it's not always easy"

"They told me I wouldn't but I found an answer, I'm Van Occupanther, I'm Van Occupanther"

"there's someone I'd like to see. She never mentions a word to me, she reads Leviathan"

and

"I think I'll head home".

'Head Home' turned out to be the crowd-pleaser. More even than the band's most talked- about song and lead single 'Roscoe', it was 'Head Home' that really had the crowd going on the handful of occasions I watched Midlake at the festivals.

It borders on the anthemic and also allowed for an extended guitar twiddle towards the end. This was Midlake's few minutes as rock gods.

I remember watching them, second on the bill on the main stage at End of the Road in 2011, rocking out with their lank hair and studious beards, thinking "wow, this is really something. Maybe these guys could be big after all."

It wasn't to be. Tim Smith left the band not long afterwards, midway through recording an album that was scrapped - they held together pretty well, with another member, Eric Pulido, on lead vocals, and, to be honest, that was a slightly false moment of grandeur. A certain amount of interest from a mid-sized crowd, second on the bill, Sunday at End of the Road, is not being the centre of the musical world on the Pyramid Stage at Glastonbury.

Still, that was, I suppose, the precise centre of my musical world. I've looked at the bill for End of the Road that year (a festival which started out in the mid-2000s taking about 5000 people, went up to  around 15000 and is still going strong) - Midlake, James Yorkston, The Walkmen, Laura Marling, Joanna Newsom, Gruff Rhys, not to mention The Fall, Mogwai, Beirut, The Staves, Emmy the Great, The Unthanks, Joan as Police Woman, Lykke Li, Tinariwen, Best Coast, Willy Mason, Micah P Hinson, Brakes and The Leisure Society. I doubt that there are many people other than me that think about half the great songs of the 21st century  emerged from that underperforming bunch.

So, Midlake, then, with what, as I reach the end of this piece, I feel a bit more confident to say is a better album than 'Pet Sounds', Rumours' and 'After the Goldrush' -  'The Trials of Van Occupanther'. With 'Head Home' which I always think of whenever I want to head home, which is often.

Incidentally, in the past couple of days, I listened, for the first time in ages, to the follow-up to 'Occupanther', 'The Courage of Others', which was generally deemed a disappointment, including by me. It was heavier, more impenetrable, and just didn't quite have the human magic. I did listen to it a lot, though, for a couple of weeks, and I remember it came out in the week I moved into my studio flat in Tooting in 2010, and was, for a short period of time, without Sky TV, without internet (no smartphone then) and a few other of the general trappings of modern life. Pathetically, that's as close as I've come to a Midlake-like existence in the past decade and a half. Anyway, listening back to 'The Courage of Others', it has plenty to like. Perhaps Midlake's time is still to come.