Wednesday, 27 March 2013

The Spectre of Defeat: Living in the Past


The Spectre of Defeat

1. "Living in the Past"

The illuminating numerals and distinctive ring that awakes the modern man, is a revolting sight for anyone to awake to. James Bond hated alarm-clocks, in fact he hated almost all gadgets designed for convenience. He thought they ground down the human instinct and corroded the spirits alacrity and reaction. For these reasons, Bond awoke on all mornings, naturally, at 5.55 AM. It was a meaningless race against the machine in which Bond had never been bested.

Royal Navy Commander James Bond, CMG, RNVR of Her Majesty's Secret Service was in his mid-thirties, just over six feet tall and slimly built. A three-inch vertical scar on his right cheek should be the prominent feature on his face, but instead the cold grey-blues eyes that bored through your skull were always the most memorable aspect.
His usual morning routine consisted twenty push-ups, twenty crunches and twenty-five squats, followed by a brushing of the teeth, shave and concluding with a hot and then ice cold shower. It was only after the completion of the routine that Bond allowed himself to have that blessed first cigarette of the day.
Bond lives in a relatively cosy two bedroom flat, just off King's Road in Chelsea. It was not the only residence of Bonds; He has an apartment situated in Midtown Manhattan, New York that he seldom used and as such, leases it out to an old American girlfriend. His third venture into retail estate is a beautifully located property in Oracabessa, Jamaica. The three-bedroom house is situated on the edge of a cliff and gives a splendid overlook of the golden beaches below. Bond rarely has the chance to stay there, usually only on his three week mandatory vacation. Yet he truly loved the place and it comforted him with the knowledge that he will one day retire there, hopefully with a well-shaped vixen that somehow managed to tame him.
The living-room of his London flat resembles more of a study than one would expect. Books are stacked across the walls in an impressive manner, filled with Bond's favourite authors, Iain Banks, Robert Louis Stevenson, Sebastian Faulks. There was no television set, Bond had confined them to the bedrooms in a positively Victorian manner, and he felt the living-room should be for eating, drinking, smoking, contemplation and reflection. Even his record collection belonged to a different era.
Bond sat down on his recently purchased brown truffle low-back armchair with oak legs at the solid oak coffee table that was the center piece of the room and light his second cigarette of the day, custom made from Morlands of Grovenor Street - a Macedonian blend with three gold rings around the butt, with his battered black oxidized Ronson (Which, along with a Anderson Wheeler 500 NE Double Rifle, was his only inheritance from his father). As he scanned across the headlines of the Daily Express, his darling Scottish housekeeper May, who occupied the spare bedroom, came shuffling through the adjoining kitchen door armed with her patented scrambled eggs* and fresh black coffee.
"Ah now this is a sight to raise spirits in the morning, what ever would I do without you May?"
"Ye widdnae know fit to de with yersel' James" May carefully laid out Bond's breakfast on the coffee table and in a overly-motherly fashion, combed his hair so that a black comma fell towards his right eyebrow.
"I don't know what I'd do without these eggs you mean” smirked Bond. May lovingly scolded him across the ear and scuttled back towards the kitchen.
Before James Bond could devour the mouthwatering morning fuel, his mobile phone, another device he detested, flashed its ominous blue signal which indicted a message direct from headquarters. Begrudgingly, he read it, which simply stated;

URGENT ALL DOUBLE-0 TO REPORT IMMEDIATELY.

*For FOUR individualists:
12 fresh eggs
Salt and pepper
5-6 oz. of fresh butter
Break the eggs into a bowl. Beat thoroughly with a fork and season well. In a small copper (or heavy-bottomed saucepan) melt four oz. of the butter. When melted, pour in the eggs and cook over a very low heat, whisking continuously with a small egg whisk.
While the eggs are slightly more moist than you would wish for eating, remove pan from heat, add rest of butter and continue whisking for half a minute, adding the while finely chopped chives or fines herbs. Serve on hot buttered toast in individual copper dishes (for appearance only) with pink champagne (Taittainger) and low music.

Monday, 18 March 2013

TNA Stars On The Rise: Taeler Hendrix



Taeler Hendrix, real name Taeler Conrad-Mellen, is one of the hottest prospects in female wrestling today.
Trained by the likes of Spike Dudley and Nic Dinsmore (Eugene) she has been wrestling on the independent circuits since 2008. Taeler had a brief glimpse of mainstream wrestling when she appeared for Ring of Honor in 2010, the same year she achieved a monumental win over former TNA Knockout Champion, Awesome Kong.

In 2011 she received a tryout for Ohio Valley Wrestling, the developmental promotion for TNA, which was successful. After further training by Al Snow, Taeler's career was further accelerated by three OVW Woman's Championship reigns and in 2012 she appeared for TNA in it's Gut Check Challenge, in a losing effort to Tara.


The Gut Check judges awarded her a TNA contract and subsequently she has divided her attention primarily on OVW and the occasional appearance on TNA programming. 

At only 23 years of age, Hendrix is the definition of future prospect. The TNA Knockout division has it's fair share of ups and downs over the years. Currently however, even though I loathe to use the word, it has become stale. I honestly believe if (and they should) go down the youth route, Taeler Hendrix could help spearhead the division in the future. She has an excellent and exciting in-ring style, which coupled with her gorgeous looks, should easily get her over with the crowds. Admittedly, she lacks somewhat with her mic skills but is still a notch above the majority of female wrestlers and still has plenty of time to improve.

I believe she is ready to make an impact in TNA and should start being used immediately  If it was possible, I would perhaps have her associate/manage another up and coming star (Joey Ryan maybe?). It would help with exposing her better than simply throwing her headfirst into the Knockout division. 

Taeler Hendrix is here for the long haul and has everything to become a success in TNA.

KRS

Wednesday, 6 March 2013

The Next Day Review


The Next David
By Paul Taylor



When I saw James Brown perform 13 years ago, he hobbled onstage cocooned in a purple cape. Slowly, he doddered to the mic as the crowd looked on in stunned silence. Of course, the band then kicked in with a massive horn stab as Brown flung off the cape and hollered “Get upah!” and proceeded to do the splits – not bad considering he was 66 at the time. Upon reaching that age earlier this year, David Bowie pulled a similar trick on his fans. Dropping into the Net in the wee hours of his birthday, he released his first new material in nearly 9 years, a single with an album promised shortly after.

The single was “Where are we now?” a mournful and misty-eyed ballad looking back to his fertile years spent in Berlin in the last half of the 70s. On the accompanying video, aside from the usual surrealism's  there is a shot near the end of Bowie looking straight to camera, looking aged and desperate. However, this was a wrong-footer; anyone expecting some sort of sepulchral, valedictory album (like Dylan’s Time out of Mind) is immediately chastised in the album’s title track, the best Bowie opener since the demented “It’s No Game” opened Scary Monsters. In it Bowie hisses “listen!” over whinnying guitars and hyperactive bass, then the chorus: “Here I am, not quite dying, my body left to rot in a hollow tree…” His voice, it must be said, is terrific, even dusting off his metallic Dalekesque shriek at times, as if to prove a point. Rumours of ill health and exhausted retirement are swept away at one fell swoop.

The album that follows cherry-picks from Bowie’s previous career, and not just his untouchable run throughout the 70s (From The Man Who Sold the World to Scary Monsters). Indeed, much of the reviews, including this one, are basically a sign-posting of which new track sounds like which old track.  This is inevitable with an aged legend of Bowie’s stature, but it is also important to note new developments and a way forward.  For Example, “Dirty Boys” continues with familiar lyrical tropes of Bowie’s, with the usual gang of futuristic teenage Droogs, but sonically it feels new, with lopsided saxophone and a lurching rhythm.  Only Earl Slick’s guitar sounds self-referential (including bursts of the famous clanging rhythm motif from “Fame”). Overall it’s one of the most striking songs on the album and Bowie’s croon sounds deliciously sleazy.

Second single “The Stars (Are Out Tonight)” is amongst my least favourite on the album, probably because it reminds me of one of my least favourite parts of Bowie’s career- his last run of albums which were, until now,  his swan-songs (Hours…., Heathen and Reality). Although respectable and well-received, they trod dangerously close to mediocre at times, and were generally too low-key and melodically flat for my tastes, much like this new track.

“Love is Lost” is a slow-burner based around organ and a chugging keyboard rhythm, again low-key, but more interesting than the previous track. The general feel is quite 80s, especially the guitar fills. On this album I feel Bowie has reached back into his (often derided) 80s and 90s work more than his celebrated 70s classics. It builds through backing vocals to a typically distraught downer from Bowie, “Oh what have you done?”

Then comes the aforementioned “Where are we now?”, sounding like an anomaly now it’s embedded on the album. However, it’s still an amazing song, with Bowie’s vocal and lyric very affecting. I have to voice a certain disappointment that The Next Day is not as this song hinted at, that is a wistful, bittersweet retrospective by a haunted recluse. I suppose we’ve got a while until Bowie has his “Johnny Cash-doing-Hurt” moment.

“Valentine’s Day” is the sweetest and poppiest song on the album and perhaps one of the only ones that might appease casual Bowie buyers who remember teenage heavy petting to “Jean Genie” or “China Girl”. Listening closer to the lyrics, however, you’ll see that rather than a sort-centred confection, it seems to be about a Diamond Dogs style dictator. Sonically it sounds like Bowie aping Suede aping Bowie in some sort of endless post-modern feedback loop, with a classic Bowie vocal and exemplary backing vocals.
Bowie revisits the soundscape of his 1995 album Outside next in “If You Can See Me”, with blistering results. Outside was his last unalloyed masterpiece, and so it’s a welcome return to a skittering breakbeat and a heavily treated vocal with apocalyptic, deranged lyrics that build and build until the track detonates into a howl of feedback and keening electro whale calls. Stunning.

“I’d Rather Be High” has the narrative of a soldier dreaming of chemical escape, and in that respect it most resembles Bowie’s early narrative songs circa Space Oddity. The melody and instrumentation are also strongly redolent of the 60s and his early career. It provides a welcome and knowing reach back into his distant past, and a spot-on pastiche of 60s pop in general, with a middle eight straight out of pre-Tommy Who.

After some pleasant but mediocre filler with “Boss of Me”, the album continues with “Dancing Out in Space”, another of my favourites. After some gorgeously woozy, My Bloody Valentine-style synths in the verses, the tracks segues into a brisk foxtrot for the faintly absurd chorus.

This kind of surreal mash-up continues in the next track “How Does the Grass Grow?” which edges even closer to the sublime/ ridiculous borderline, especially in the fact that the bridge consists of Bowie singing the famous guitar melody from The Shadows’ “Apache” in a Doo-Wop style. I still can’t decide if that’s genius or just plain silly, but the audacity of it can only be applauded.

“Set the World on Fire” may be a grower, but I have to say I find the whiff of 80s soft Metal (specifically Tin) that pervades it immediately off-putting. Lyrically it is unremarkable except for a reference to Dylan and Dave Van Ronk.

“You Feel So Lonely You Could Die” is the kind of desperate torch-ballad album closer Bowie wrote the book on, and you know instantly you are in the hands of a master. He makes the soaring melody look effortless, with seemingly no loss in the range or power of his voice. This track then ends with the most explicit reference to his past (apart from that incredible PhotoShopped album cover), when the drums break out into the beat that opens “Five Years”.

As a coda, we get “Heat” which encroaches on  Scott Walker territory- both the 60s pop God and the abstruse later incarnation. The burbling bassline also recalls the songs Bowie provided for the Labyrinth soundtrack. Around the mid-point mark, some beautiful, slightly off key strings come in, as Bowie repeatedly calls out the line “My Father and the prison..” and the whole thing finishes with strummed 12-string acoustic guitar.

The Next Day, then, is a decisive and meticulous instrument of re-assertion, possibly born of frustration at those rumours I mentioned earlier of Bowie’s decline and isolation. It reveals a man still, in his late 60s, at the centre of the maelstrom of modern life and still as seeking and restless as ever. It also does not sound like an ending, but the beginning of a new chapter and it poses an exciting question on where Bowie goes from here, having unquestionably proven himself as capable and relevant. In the meantime, it’s great to have him back.

  Paul Taylor, March 2013

Tuesday, 5 March 2013

The Toldo Show: Let's Play Project Zero/Fatal Frame (Part 1) (PS2)


The Toldo Show: Let's Play Project Zero/Fatal Frame (Part 1) (PS2)


We start our first Let's Play game - The horror classic Project Zero/Fatal Frame on the PlayStation 2!

Monday, 4 March 2013

TNA Stars On The Rise: Joey Ryan




Joseph "Joey" Ryan Meehan is a well traveled professional wrestler mostly known for his time on the independent circuit and as one of the five founders of Pro Wrestling Guerrilla where he was a former PWG World Champion. He is also a former NWA Tag Team champion with Karl Anderson.

I have been a fan of Joey Ryan since first seeing him in Ring of Honor and will not deny that when I found out he was joining TNA I marked out a little. While talented in the ring, Joey's stand out ability to me is his mic skills. Whether he is channeling Andy Kaufman and challenging female wrestlers or having the sleaziest wrestling entrance ever (Complete with Escape/The Pina Colada Song theme music), he really knows how to get a reaction from the fans.

However his time in TNA has been slightly underwhelming. His Gut Check feud with Taz/Al Snow was too drawn out and did not receive enough airtime. Although it did a great job at blurring the lines and had us wondering whether it was a work or not, the fact it was only baffles me more at the lack of promotion for the feud. 

Now that he has tagged up with Matt Morgan he really does feel stuck in limbo. It truly is a tag team that benefits neither member. I feel the best route to take Joey just now is to make him TV Champion (Which is being wasted on Devon) and have him establish the mid-card and add some value to the belt. I believe a possible feud with RVD, well known for his time as ECW TV Champion would help get Joey Ryan over. 

While I hope the future is bright for Joey Ryan, the way TNA has currently booked him leaves me slightly worried. However, he is only 33 years old and still has plenty of time to make an impact in TNA.

Super Ghosts N Ghouls (SNES) Part 1


Super Ghosts N Ghouls (SNES) Part 1


Today we start our quest to BEAT THIS FUCKING GAME.

Sunday, 3 March 2013

The Toldo Show: Toldo vs Toldo - PGA Tour Golf (SNES)


The Toldo Show: Toldo vs Toldo - PGA Tour Golf (SNES)




Kyle and Benzie go head to head in the first round of Toldo vs Toldo. And then the unexpected happens...

Saturday, 2 March 2013

Underrated Album of the Day: The Byrds - Byrds


The Byrd - Byrds


Tracklist:
  1. Full Circle (Gene Clark) ****
  2. Sweet Mary (Roger McGuinn, Jacques Levy) ****
  3. Changing Heart (Gene Clark) ***
  4. For Free (Joni Mitchell)  **
  5. Born to Rock 'n' Roll (Roger McGuinn) ****
  6. Things Will Be Better (Chris Hillman, Dallas Taylor) ****
  7. Cowgirl in the Sand (Neil Young) *****
  8. Long Live the King (David Crosby) **
  9. Borrowing Time (Chris Hillman, Joe Lala) **
  10. Laughing (David Crosby) ***
  11. (See the Sky) About to Rain (Neil Young) ***


I have always had a strange relationship with The Byrds. On the one hand, I do own their entire discography. On the other, I'm not really a huge fan of them. I love CSNY and am a huge fan of David Crosby. I adore Roger McGuinn's voice and I love all their Dylan covers. It's just their original work I never got infatuated with.

Weirdly enough, their last album, which is also their most critically panned release, is my favourite album by them. Admittedly, one of the main reasons I love this is because of how CSNY-esque it sounds. There are two Neil Young covers and no Bob Dylan covers. David Crosby stated it was because "Neil Young was the great songwriter of the 70's, just as Bob Dylan had been for the 60's" Which is fine by me. The two covers are great by the way, in particular "Cowgirl in the Sand", which translates great into the Byrds style.

There is a lot of criticism aimed at this album for the lack of the trademark "Jingle-jangle guitar" and honestly, I don't mind. While I do enjoy that sound on the earlier albums, I was growing sick of it and the country/slide sound of their middle period. It is an uneven album that feels "pieced" together rather than a full blown reunion of the original members getting back their roots. Crosby's "Laughing" is beyond unnecessary on this, with superior versions on his solo record If Only I Could Remember My Name and on CSNY's 4 Way Street.

It might forty years old but the final Byrds record is vastly underrated and worth a listen.

Danny Halloway of NME said it best at the time of the release:

"The Byrds have overcome the novelty of reforming and really do cut it here. The band's direction is no-nonsense, straight-ahead music. There's not any cultural preaching or sloppy outtakes as intros ... I'm glad to report that The Byrds make it on the strength of the music alone."