Trollheart

Random Track of the Day
Friday, September 9 2011

Interesting track today. From prog/fusion band The Tangent, this will probably hit a chord with fans of the Flower Kings, as members of that band were involved. It's from the album released in 2003 called “The music that died alone”. This is in fact from the title track, but as it's a long piece (the album's actually made up of four long tracks, each broken into smaller tracks) my Random-o-meter just caught this part. It's the third movement of four in the title track.

Pre-history --- The Tangent --- from “The music that died alone” on InsideOut



The title track is probably the best on the album, and this is part 3, or the third movement, of that, going under the name of “Pre-history”. This part is purely instrumental, and very jazz/fusion with elements of prog rock in it. Lots of piano and very Santana-like guitar. Lots of good organ too.

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Ever wanted to find out about a band or artiste, but lacked the time --- or inclination, or money ---- to listen to all their albums, or click every video of them on YouTube? Here's where my “Beginner's Guide” may come in handy. Although my other section, “Taking centre stage”, goes deeply into an artiste and talks a lot about them, how they started, their successes and failures, lists their albums and showcases some of their work, they're a little detailed for someone just wondering if they'd be into this artiste.

So this is hopefully a quicker, snappier way of making that decision. I'll choose an artiste, write a little about them and post what I consider to be their best (and perhaps worst) output. That way you can get a feel for them, see if they may be worth checking out, or if you should probably steer clear of them after all. Needless to say, these will all be artistes I am myself into, and ones I know about and can feel somewhat qualified talking about.
Threshold
So our first Beginner's Guide is to Threshold, whom a lot of you may not know. They're an English prog rock band who have been going for over thirty years now, and have released, to date (2011) nine albums, as well as four live ones and a video. The current lineup of the band is as follows:

Andrew “Mac” MacDermott --- vocals (see note 1)
Karl Groom --- lead guitar
Richard West --- keyboards
Johanne James --- drums (see note 2)
Steve Anderson --- bass (see note 3)
Nick Midson --- guitar (see note 4)

After three decades of recording, Threshold have gone through some staff changes over the years, including some who have left and come back, as explained in the notes below, but here we're just concentrating on the current incarnation. As I introduce each album below, I will note any changes in membership.

Note 1: MacDermott is the current vocalist, but prior to 1998's “Clone”, his duties were performed by Damian Wilson, who was there at the inception of the band. He sang on both debut “Wounded land” and “Extinct instinct”, their third album, with vocals on the second one, “Psychedelicatessen”, being handled by Glyn Morgan.

Note 2: Johann James plays drums for Threshold now, but has only been with them since the fifth album, “Hypothetical”. Prior to that, there have been a succession of occupants of the drumstool, including Tony Grinham, Nick Harradence and Mark Heaney.

Note 3: Although Steve Anderson is the current bassist, he has only been with Threshold since the last-but-one album, “Subsurface”. Before that, bass duties were carried out by Jon Jeary.

Note 4: Midson left after “Subsurface”, and Groom became the sole guitarist in the band.
Wounded land (1993)


Threshold's first album, “Wounded land”, was released in 1993. For a debut it's quite incredible, with only nine tracks but no duds. Two of the tracks are over ten minutes long, the best of these being the amazing “Surface to air”, and then there's the gorgeous little two-and-a-half-minute ballad, “Keep it with mine”. Being the debut album, “Wounded land” features original vocalist Damian Wilson, drummer Tony Grinham and bass player Jon Jeary.

The first track I want to feature from this wonderful album is the already-mentioned “Surface to air”. Over ten minutes long, it's a real tour-de-force, starting off like a ballad, almost Rushesque, with powerful string section on synth. Ninety seconds in it explodes into a full-blown rocker, very epic and dramatic, great guitars from Groom and Midson. Halfway through it gets very bluesy, with some great solos, then picks up again for a boppy, prog-rock ending.


The other extreme then is the shortest track, a ballad with no intricate sections, no convoluted playing, nothing but the acoustic guitar and synth backing. “Keep it with mine” still stands, even after all these years and nine albums, as one of my favourite Threshold tracks.

Psychedelicatessen (1994)


Only a year later and Threshold were back, with “Psychedelicatessen” (cool title!), which while no “Wounded land”, has some great tracks on it. I've chosen “A tension of souls” as a real example of how heavy and powerful Threshold can get (sorry about the anime video!).



The other example is another heavy song, the closer, “Devoted”. Vocals are different on this album, as it's Glyn Morgan doing the singing. In addition, the drummer is Nick Harradence.



Extinct instinct (1997)


That takes us three years into the future, and they released “Extinct instinct”, their longest ever album, with twelve tracks, clocking in at just over sixty-seven minutes in total. There are loads of good tracks to choose from, but I've gone for the heavy, almost doom metal “Lake of despond”



and the acoustic ballad closer, “Mansion”.



A return to vocal duties for Damian Wilson, with Mark Heaney occupying the drumstool.

Clone (1998)


Only a year later, again, and 1998 saw the emergence of Threshold's current vocalist, Andrew “Mac” MacDonald, for their fourth album, the brilliant “Clone”. I've purposely restricted myself to two tracks per album in this section, and it's just as well, as to be fair I could feature the whole thing, it's that good! But which to choose? Well, without question, one of my favourite Threshold songs of all time, the closer “Sunrise on Mars” has to be one of them,


and I'll go for, let me, see... hmm. Ok, well let's try the powerful “Goodbye mother Earth”.



Phew! Okay, that's that decision made! Take my word though, and seek out the whole album. It really is worth it.

Hypothetical (2001)


Another three years then to the next Threshold album, but wow, was it worth waiting for! After the opus that was “Clone”, they were going to have a lot to live up to. And they did. “Hypothetical” is a great, great album, and again it's really hard to choose just two tracks to represent it, but choose I must. So I'm going for “Keep my head”, a ballad



and another of my favourites, and definitely my favourite on the album, the ten-minute epic “Narcissus”.



Again though, check out the full album if you can.

Oh yeah, this album marked the end of drummer Mark Heaney's tenure on the stool, and he was replaced by Johanne James, as the true lineup of Threshold began to coalesce.

Critical mass (2002)


Threhold seem to go on a basis of an album this year, another next year, and then next three years later, and this is borne out with the release of “Critical mass”, which hit the shelves in 2002, one year after “Hypothetical”. This album marks the last contribution of bassist Jon Jeary. He would be replaced on the next album by Steve Anderson, who then completes the current lineup.

From this album I've chosen the heavy opener, “Phenomenon”



and the thirteen-minute closing title track.




Subsurface (2004)


2004's “Subsurface” breaks the chain, being released only two years after “Critical mass”, and I have reviewed it extensively, so I'll just say it's one of Threshold's best albums, and here I'll feature tracks that are not included in the review. Bass player Steve Anderson joins up, to give us the lineup we have today.

Starting off then with “Opium”



and ending with “Pressure”,



but if this interests you do go back and read the full review of “Subsurface”.

Dead reckoning (2007)


And that brings us to the latest album, 2007's “Dead reckoning”, which re-establishes the practice of leaving three years between albums. The only lineup change for this album was that longtime rhythm guitarist Nick Midson left, so that Karl Groom took over all guitar duties.

From this album I'm featuring “Hollow”



and the excellent “Safe to fly”.



So that's your introduction to Threshold. I hope it's been of use to you, and may encourage one or two of you to seek out the albums, or at least some of them. Threshold are something of an underrated band, but they don't deserve to be. They have a new album scheduled for release next year, and I for one can't wait.

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Everyone knows what an earworm is, right? Well, just in case, let me explain. Ever heard someone whistle a tune, hum a song or even tap out the rhythm of a popular well-known song, and then realise you're humming/singing it yourself? That's an earworm: a song that when you hear it ends up being lodged in your brain for a while. Sometimes even the title of the song can do it.

I'm going to start posting a daily earworm, just for the sheer fun of it. The section opens with Huey Lewis and the News, and one of his best and most well-known hits from the eighties, “If this is it”. Try not to hum this to yourself for the next half hour!



The Worm will be back tomorrow. There is no escape! Bwah-haa-haa-haaaaa!

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Emotional creatures, part one --- Steve Thorne --- 2005 (Giant Electric Pea)


Steve who? Well, you may not know him, but Steve Thorne has worked with the likes of Jadis, Colony Earth and The Salamander Project, and has the musical clout to be able to call on the talents of people like Nick D'Virgilio, Geoff Downes, Gary Chandler and John Jowitt from Jadis, Tony Levin and Martin Orford for his project, “Emotional creatures”. He himself is a multi-instrumentalist and a great songwriter.

The album kicks off with “Here they come!”, a short instrumental with a nursery-rhyme/musical box opening that soon warps into something altogether different and more ominous, with a marching beat and spacy synth, then it's on to “God bless America”, an acoustic offering which is either heavily sarcastic and satirical, or a totally poe-faced nationalist anthem. I suspect the former, especially in the lyric ”England laps like a dog”. Some nice flute in there, leads into “Well outta that”, a mid-paced rocker about leaving the rat race behind, with again some nice acoustic guitar and warbling keyboards, as well as some lovely mandolin from Arnie Cottrell. A powerful, dramatic ending with what sounds like marimba or vibraphone and some really nice strings.

“Ten years” comes in on a nice atmospheric opening, very pastoral, reminiscent of very early Genesis, with Nick D'Virgilio from Spock's Beard behind the drumkit. Elements of Porcupine Tree in there too, and it ends with, of all things, what sounds like a child singing into the fade. Geoff Downes gets in on the act for “Last line”, again carried on acoustic guitar but with some pretty angry, even manic vocals from Thorne. As you might expect with Mr Downes involved, there's an extended keyboard solo, and very good it is too, though you kind of get the idea that it was only written in due to his being on the track. Still, it's good to hear him on the Hammond.

The last track to feature D'Virgilio is “Julia”, a nice little ballad which becomes a bit more frenetic and harder as it goes on, while the longest track on the album, “Therapy”, is a catchy, almost poppy song with a very memorable melody. Probably would choose this as the standout track. So far. “Every second counts” is very Porcupine Tree, with spoken commentary over an instrumental passage, while “Tumbleweed” is another pastoral acoustic ballad, very Jethro Tull, with the reappearance of mandolin and flute.

Penultimate track “Gone” features Jadis' Gary Chandler on guitar, adding a real sense of hard rock to the album, and good keyboards too, but the song is mostly built on the fretless bass playing of John Jowitt, he also of Jadis. The song lyric follows the actions of a school shooter who finds a gun and ”Took it into school and hey/ Girls and boys were blown away.” Chandler lets loose with a fine solo in this, perhaps the heaviest and also the most hard-hitting and topical song on the album. Another contender for top track.

The album ends on another acoustic ballad, the aptly-titled “Goodbye”, with some very effective backing vocals, lush keys and Classical guitar to create a fitting finale.

So that's “Emotional creatures, part one”. An eclectic mix of styles, themes, and arrangements, to be sure. Quirky to the max, definitely different. Whether you'll enjoy it I suppose depends on your attitude approaching the album, but one thing is for sure: it won't bore you, and you're likely as not to come away with a certain feeling of having experienced something totally new and apart from anything you've listened to before. At least, that's the impression this album made on me.

And don't worry, I will be reviewing “Emotional creatures, part two” at a later date.

TRACKLISTING

1. Here they come!
2. God bless America
3. Well outta that
4. Ten years
5. Last line
6. Julia
7. Therapy
8. Every second counts
9. Tumbleweeds
10. Gone
11. Goodbye

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Random Track of the Day
Saturday, September 10 2011

More German metal for the weekend! Not Axxis this time, but Primal Fear, who have some really good albums. This is from one of them, 2005's “Seven seals” Good rockin' track called “The immortal ones”.

The immortal ones --- Primal Fear --- from “Seven seals” on Nuclear Blast


Okay, it's not going to win any prizes for originality or subtlety, but then, this is heavy metal we're talking about, and German heavy metal at that. What you see is what you get, and whatever your expectations of such a band, you're likely to be right.

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Ten Years Later...

I thought long and hard before deciding to do this, but as the tenth anniversary occurs of the worst and most devastating attack on American soil, and television channels bombard us with stories, documentaries, dramas and programmes of all types remembering the 9/11 attacks, I felt I really needed to make some sort of contribution.

Anyone who knows me is aware of my views on American foreign policy, but I didn't want this feature to be coloured by my own political beliefs. In fact, in order to be totally true to the spirit of pure remembrance and tribute, I decided not to feature any political songs at all. I also stayed away from any puns --- intended or not --- or, as far as I could, empty cliches.

As the towers fell and the smoke blotted out the New York city skyline, and people panicked and news channels hosted “Breaking News” banners all day which told stories we found hard to comprehend, or believe were happening, events moved on very quickly. From the Iraq and Afghanistan invasions and then wars, the poltical jockeying and in-fighting, the terrorist rhetoric and the widening effect September 11 had on the world, both on the markets and on people's thinking, it soon became easy, in a way, to forget those horrible, heart-wrenching scenes of people desperately walking around near Ground Zero (as it came to be known), clutching faded photographs and plaintively asking if anyone had seen their loved ones. In the huge whirlwind of world events that took over, it became easy to forget the human face of this tragedy.

But as the world moved on, many people had not that luxury. On September 12, over three thousand families awoke to the awful, numbing realisation that they would never see their loved ones again. They had to live with that now, and there was nothing presidents, political commentators, newscasters or bloggers could do about their loss. They were, to a very great extent, on their own, and as time moved on, in many ways, they faded into the background, the forgotten and overlooked casualties of a war that was only just beginning, but may never end.

So in order to try to speak to those dispossessed I offer this tribute. More than likely, it will not be read by anyone who might benefit, even in a small way, from it, and even more likely it will be seen as an empty gesture, but I hope not. If only one person reads this who has been affected by the events of 9/11, and it helps them, even a little bit, then it will have been worth it. I don't expect that will happen, but it's worth trying for, and it's worth doing, just for the slim hope that it may ease someone's troubled heart.

In the end, I decided the best way to approach this was to divide it into two separate sections. The first deals with songs of loss, remembrance, sorrow. It's not meant to upset anyone (though of course it may), but to underline and perhaps tap in to the feelings that invariably accompany a loss of this magnitude. The second section presents songs of hope, joy, celebration, with more than a few songs about the city in which this attack took place. So the hope is that the reader might start off melancholy, remembering their lost loved one(s), but then be cheered by the happier, more positive songs.

I've gone to great lengths to keep any sort of politics out of this feature. There is nothing about Islam, nothing about GW Bush, nothing about Iraq or Afghanistan. Some of the lyrics in some of the songs may not exactly reflect the theme here (Gary Moore's “As the years go passing by” would be a good example), but taken on their own merits they can be shaped to fit the general mood, so if anyone is upset at the choice of a song or songs, please understand that it is more the title and spirit of the songs, in some cases, that I want to get across, rather than the actual lyrics.

With that in mind, here is the first section, the sad, reflective part, with songs I think, and hope, will fit the mood.

Part I: Reflection, Loss and Memories

Of all the songs on Bruce Springsteen's 9/11-inspired album “The Rising”, I believe this is the most appropriate for this section. Its lyric fits the theme, and I believe he has managed to capture the sense of shock, loss and disbelief that greeted too many people in the days after the attack. It's a sad, contemplative little ballad, simply called “Your're missing”.


Although written about the Indonesian Tsuanami of 2004, the mood and theme, and indeed the title seem to fit the sense of loss engendered by 9/11. It's a haunting, primarily piano-driven heartfetl ballad from prog rockers Mostly Autumn, from their “Storms over still water” album, and it's called “Carpe diem”.


It's a tiny little three-letter word, but Annie Lennox sings the question most people would have been asking on that fateful day.


And here she is again, this time with Dave Stewart in her band the Eurythmics, from the album “We too are one”, in itself a statement of hope and togetherness and support. Another ballad, with some very powerful lyrics, the closer from the album, it's called “When the day goes down”.


Sometimes the most effective lyric or theme is the simplest, and REM certainly make that point here, with the superlative “Everybody hurts”.


One of Chris Rea's most beautiful and yet angry ballads, from the album “The road to Hell”, and “Tell me there's a Heaven”.


Another simple idea that everyone can identify with, whether they lost someone or just sympathise with those who did. Asia, from the album “Aura”, and “I will remember you”.


One of the enduring traits of New Yorkers is their stoicism and their courage, this desire to go about their daily business, even after such a tragedy. The idea that no-one will stop us or scare us into hiding runs through this, one of the last Queen songs with the late Freddie Mercury, and though “The show must go on” was written in reference to his fatal illness, it could as easily be applied to the daily lives of those who must struggle on without wives, husbands, brothers or sisters at their side.


More simple sentiments from a simple man who always writes a great tune. Bob Seger, from the album “The fire inside”, this is a lovely little country-tinged ballad entitled “Always in my heart”.


You can't beat a classic. The perennial song of help and support from Simon and Garfunkel, over forty years old now, still has the power to move and soothe a troubled heart.


A song of reflection and struggle through the night, the Alan Parsons Project from the album “Vulture culture”, some very telling and poignant lyrics in “The same old sun”.


A blues song by a man who himself recently left us, the great Gary Moore and a great ballad, “As the years go passing by”, from his album “Still got the blues”.


A short but powerful little ballad from Prefab Sprout, from their hugely succesful “Jordan: the comeback” album, and a song with a sentiment we would perhaps all do well to heed.


Shadow Gallery do some really nice ballads, but for the purposes of this section I think this is the most appropriate. From the album “Room V”, this is “Comfort me”.


One of my favourite ballads ever, Sarah MacLachlan's beautiful, ethereal “Angel”.


The sentiments expressed by Linda Ronstadt in “Shattered” speak for themselves...


From Heart's “Brigade”, the title says it all: “Cruel nights”.


Another of my favourite ballads, and sung by a man who knows how to sing them.



Part II: Recovery, Hope, Determination and Survival

Bon Jovi, in addition to being New Jersey's favourite sons (sharing that distinction with Mrs. Springsteen's boy) always know how to write a song that lifts the heart and puts hope back where it may have been lost. “Bells of freedom”, from their album “Have a nice day”, is no exception.


And New Jersey's other most famous and proud musical export does the business here, throwing a fist of defiance into the ash-choked New York skyline and declaring that terrorism will never triumph. Title track from the album “The Rising”.


Dedicated (as far as I'm concerned, for the purposes of this feature) to the brave firefighters of the NYFD who risked --- and in some cases, sacrificed --- life and limb to try to rescue people on that fateful day.


Who isn't in a New York state of mind, from time to time?


Appropriately hopeful and triumphant song from Robbie Williams, from the album “I've been expecting you”, this is “Phoenix from the flames”.


And what sentiment could be more simple, or more welcome? The Eagles, from “One of these nights”, and “I wish you peace”.


U2's anthemic cry for unity, this is of course “One”.


A song of hope, tolerance and kindness, even in the midst of war and distrust.


More simple but very important sentiments, from Bill Withers, with a universal anthem, “Lean on me”.


A song that's been covered many times, but this is my favourite, Josh Groban with “You raise me up”.



With a World War I theme, Bryan Adams' “Remembrance Day” can still fit into our theme here, with its hope for universal peace. Maybe someday.


Possibly one of the feelgood, never-say-die songs ever written. This is the original and best, from Journey.


May not be an obvious choice, but Chumbawumba's drinking anthem qualifies, I believe, for its repeated assertation “I get knocked down, but I get up again.” Plus it's good fun.


The Adventures, from the album “The Sea of love”, with a promise: you don't have to cry anymore.


One of several songs referencing New York, this is A-Ha, with “Manhattan skyline”.


Bon Jovi again, with the gloriously upbeat and fun song “I love this town”.


Truer words have never been uttered. Yes, from the album “Union”.


If we all took Diana Ross's advice once in a while, maybe the world would be a better place.


Something we all hope to see in our lifetime, or can at least dream about: a time when horrific acts like 9/11 remain where they belong, in the dark annals of history.


Of course, we couldn't leave out THE New York song of songs! Here's the Chairman.


So that's my little contribution to the tenth anniversary of 9/11. In the grand scheme of things it will of course go completely unnoticed and unremarked upon, but I wanted to do something, even if it was small and insignificant, to mark the occasion and maybe, if it helps just one person for even a few minutes, in some very small way this could help make a difference.

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2112 --- Rush --- 1976 (Anthem)


Definitely one of my favourite Rush albums, and acknowledged as such by fans and critics alike, 2112 is half of a concept album, in that the first side of the LP (or the first seven tracks on the CD) covers one long song, broken into seven parts, all of which relate to the other and tell a story, this being the massive title track. It's generally a science-fiction story, set in the year 2112, of course, where all life and freedom on Earth is controlled by shadowy figures known as the Priests of the Temples of Syrinx. These self-styled leaders determine what is, and is not, considered suitable for public consumption, this extending to entertainment such as books, films and music.

The album opens with the overture, just like a classic symphony, an instrumental based on the heavy rock stylings of Rush, after which vocalist and bassist Geddy Lee sings ”And the meek shall inherit the Earth”, rather a satirical comment as the Priests are nothing like meek, forcing the people to conform and obey their edicts. “The Temples of Syrinx” is another rocker, essentially the Priests introducing themselves to the audience, with great guitar from Alex Lifeson and pounding drums from Neil Peart, who also wrote all the lyrics. Part 3 is entitled “Discovery”, and starts with what sounds like someone unfamiliar with the instrument trying to tune a guitar.

This works very well into the storyline, as in it the hero discovers a guitar, and is amazed by its simplicty of design and the music it is capable of making. Geddy sings ”What can this strange device be/ When I touch it, it gives forth a sound?/ It's got wires that vibrate/ And make music/ What can this thing be that I've found?” As the hero explores the guitar and learns to play it he is captivated by it, and takes it to the Temple to present it to the Priests, leading to the fourth part, “Presentation”. The hero believes that an instrument such as this, which will allow people to play their own music, will be welcomed by the dictatorial guardians of the Temple, but its individuality and its promise of allowing people to express themselves angers the Priests, and they cast him out.

A great solo from Lifeson then, takes us into part five, “Oracle: the dream”, a gentle, spacey synth melody as the hero wander dejectedly back to his home, which then kicks into a heavy passage as he sees visions of the past, the war that almost destroyed the galaxy,and this leads to part six, “Solilioquy”, a gentle guitar introduction that then again explodes into a heavy guitar track as the hero finds he can no longer live in this cold, controlled world, and takes his own life.

Part seven, “Grand finale”, is a revisit of the overture, with rocky guitar, wailing synth and thumping drums to take the piece to its powerful and dramatic conclusion. At the end a voice on a tannoy announces “We have assumed control!” leaving you to believe that the reign of the Priests of the Temples of Syrinx may be at an end.

So that's “2112”, the track, all twenty minutes of it. Against that, it's hard to get too excited about the rest of the tracks, as they're going to have a lot to live up to. “A passage to Bangkok” does not manage it. It's a rocky upbeat number, great guitar as ever from Lifeson, but seems a little ordinary after the opus just experienced, which is why I believe Rush would have been better advised to have had the title track as the closer, or for those old enough to remember and understand, on side two.

“The twilight zone” alternates between striding, strutting blues and contemplative guitar, while “Lessons” has nice jangly guitar and a boppy beat, but it's “Tears” that really makes you sit up and take notice. A beautiful and fragile ballad, with lush strings, acoustic guitar and some mournful flute, it's the only ballad on the album, but the better for it. Apart from the title track --- which is hard to ignore when considering top track --- this gets my vote for best track on the album. Closer “Something for nothing” is another fast rocker, good but not great.

There's no doubting this is a classic Rush album. The trap they seem to have fallen into is the old “top that” syndrome: with a track --- piece, composition, whatever --- of the calibre of “2112”, it was always going to be hard to match it, and in general the other tracks on the album, “Tears” aside, stand as more or less filler when compared to “2112”. They would be good on another album, but here they're blocked by the massive shadow cast by the title composition. A victim in some ways of its own excesses, “2112” is nevertheless an album you should make it your business to hear.

TRACKLISTING

1. 2112
(i) Overture
(ii) The Temples of Syrinx
(iii) Discovery
(iv) Presentation
(v) Oracle: the dream
(vi) Soliloquy
(vii) Grand finale
2. A passage to Bangkok
3. The twilight zone
4. Lessons
5. Tears
6. Something for nothing

Suggested further listening: “Caress of steel”, “Hemispheres”, “A farewell to kings”

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What has the worm got in store for us today, I hear you ask? Well, if I were to sing “I want my MTV” in a high falsetto voice, would that be a clue? Yes, it's Dire Straits, and one of their biggest ever singles, “Money for nothing”, from their last album “Brothers in arms”.


Take the time to look at the video. Although it seems pathetic by today's standards, and your five-year-old could probably do better with an iPad, at the time this was considered cutting edge, and we marvelled at the “amazing” computer animation --- look, their mouths move in sequence with the singing! Wow! I believe it may also have been one of the first, if not the first music video to be totally computer animated (even the stage performances, though live-action, are part of the animation, as the two characters are watching them on a cartoon TV), and caused quite a stir on its release.

With backing vocals from Sting (he sings the “I want my MTV” part), the song was quite controversial in featuring a word like “f@ggot”, and yet getting to number one. Wouldn't happen today! It's also really clever in that it's Dire Straits (well, Mark Knopfler) lampooning their own success, taking the role of deliverymen and installers who bitch about the high-flying rock star life as compared to their own, thoughts many people no doubt have had about Dire Straits: some would definitely agree that they earn their “money for nothing”.

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Random Track of the Day
Sunday, September 11 2011

Perhaps appropriate for the day that's in it, today's Random Track of the Day comes from another of my favourite bands, indeed, a band who have kicked off the “Beginner's Guide to” section just a few days ago, Threshold. This is not actually taken from any of their albums, as it were, appearing only on the Japanese issue of “Psychedelicatessen”, but included on what would become the first of four fan-released albums containing remixes, radio edits and acoustic versions of hard-to-get songs. This first one is called “Decadent”, and was released in 1999.

Lost --- Threshold --- from “Decadent”


“Lost” is a lovely little partly-acoustic ballad, very laid-back and soothing, with some really nice keyboards as ever from Richard West. It's worth seeking out “Decadent” for just this track, though it has some great stuff on it. Hard to get your hands on, though....

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Another new section, in which I'll be posting some of my favourite or most memorable themes from TV shows. Everything from the sixties to today. May bring back some memories...

First, my favourite TV theme from my favourite TV show of all time, BBC's classic “The Onedin line”. Actually a classical piece from a ballet by Aram Khachaturian called “Spartacus”, this is the Adagio from it, but it has been and will forever be identified with this show.

Unfortunately, and quite amazingly to me, I've had a lot of trouble tracking down the original that accompanied the series --- everyone seems to have uploaded an orchestral rearrangement, which I don't like. So this is the closest I could get to the one I remember.



Another great orchestral piece, from a show I used to love as a kid. Theme from “Black Beauty”.


You've probably seen this on Sky in its current reincarnation (and it's darn good yes) but this is the original and best theme to “Hawaii Five-O”. Book 'im, Dano!


This theme just screams brawn and power, and cool fast cars with big guns to boot! It's “The Professionals”!


And speaking of big guns, here's another of my favourite Saturday shows as a kid, despite how silly it all was, we loved “The A-Team”.


Ominous and full of threatening power, I loved the theme to Terry Nation's “Blake's 7”. Specially the bit at the end with the synth!


Who didn't love “Minder”?


Another classic, with a theme that should never have fit the type of show it was, but has become forever synonymous with “Hill Street Blues”.


One of the greatest dramas ever written, with a powerful theme tune. “The West Wing”.


Ramp it up for Buffy!


Yeah, those are the sort of programmes I used to watch (and still do, some of them) on the ol' goggle-box. Hope you enjoyed them. More some other time...

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Trollheart: Signature-free since April 2018