England facing defeat after shocking batting collapse

After three and a half Test matches into this Ashes series down under, Australia’s superior brand of cricket and England’s sorry surrender of the urn have resulted in the travelling side’s meek circumstances described as dub metaphors; “ a sinking ship” and “wheels falling off the wagon.” However on the fourth day of the fourth Test in Melbourne, England somehow managed to rip up those clichéd figure of speeches and rewrote some of their own as they crumbled spectacularly to practically gift Australia impending victory and with it an emphatic 4-0 lead.

So often during this arduous tour, England have produced such weak showings with bat, so dire in execution and clueless in application that it’s been a surprise Captain Alastair Cook hasn't risen a white flag from his side’s dressing room and handed The Ashes earlier to Aussie counterpart Michael Clarke without having to witness his side’s dismaying showings on the pitch. However today saw the worst of England’s batting displays, not just during this series but also for as long as many can remember. England may have perished before in the past to sides blessed with some of the greatest bowling talent to have played the game, however today England’s batting line up managed to be taken apart by a spin bowler, who didn't spin a single ball and to whom only three years ago was part of the Adelaide Oval ground staff. The bowler in discussion is Nathan Lyon, who finished with five wickets on a pitch that exhibited no turn or spin as England’s batsman gifted their wickets away to be bowled out for a paltry 179. An all too familiar batting display left Australia just 231 runs to complete victory and move within a match of a series whitewash.  

Without discarding anything away from the hosts who have played some sublime cricket during this series and who have been miraculously rejuvenated under coach Darren Lehmann, England (who came into this series as strong favourites) have irrevocably played to their own downfall in astonishing fashion. Leading into this Ashes tour, the visitors had successfully defeated Australia in resounding fashion home and away and had only lost two Test matches to the old enemy since 2009. However fast forward nearly four completed Tests down under and England have already lost The Ashes, are within sight of being defeated for a fourth time in a row, have lost two key players, (one to retirement) and still haven’t managed to score more than 400 runs in a single innings, a barren run that stretches back to March this year.

As abject as the scorecard suggests it makes it even harder to accept that before England’s now seemingly routine batting collapse, the visitors were in a position of strength the day before. With Australia resuming in the morning on a precarious 164-9, England just had to remove form batsman Brad Haddin to commence their second innings and build a substantial lead. However the wicket-keeper-batsman and number 11 Lyon had other ideas, adding 40 quick runs, with Haddin last man out for another crucial rearguard innings of 65. It left England with a lead of just 51 but with a considered and determined approach to batting, there was no reason why they couldn't construct a sizeable lead and give themselves a great opportunity to record their first victory in the series. The innings started promisingly as Cook commenced with an assured manner, racing along at almost a run-a-ball with a string of confident boundaries and passing 8,000 Test runs, the youngest man in history to do so. However after completing his 35^th Test half century, Cook was first to go with the lead on 116. Mitchell Johnson accounting for the England Captain with some late in-swing from over the wicket and striking halfway up his front leg to be lbw.

Cook’s wicket brought in young Joe Root who almost followed his skipper straight back into the dressing room only to be reprieved when his review ruled that he had not edged behind off the bowling of Johnson. However England failed to make use of the advantage, as Michael Carberry was first to go, lbw off the bowling of Peter Siddle for 12 before Root was run out by Johnson after gambling on a quick single. With 86 on the board, with the loss of three wickets and a lead of just 137, it was imperative that England’s two most important batsmen, Kevin Pietersen and Ian Bell played sensibly and recover from a shaky position. Despite this requirement, Bell perished first ball as he lazily pushed a straight ball from Lyon into the hands of Johnson at mid off. It meant that England had lost three wickets in six balls for just one run, yet again their batting frailties letting down the hard graft of their bowlers. In Pietersen, England had a glimmer of hope, playing with both discipline and skill and rotating the strike well in between flaying the ball around with some magnificent boundaries. In partnerships with Ben Stokes and then Jonny Bairstow, Pietersen guided the visitor’s score to 173, a lead of 224 before history repeated itself again to a despairing and increasingly worrying effect. Seemingly not content with just one batting collapse, England’s lower middle order and tail disastrously disintegrated once again in a sensational 41-minute passage of play.  

Bairstow, in another unconvincing innings since his return to the side edged a wide Johnson delivery for 21, Tim Bresnan’s attempt to pull Lyon off the back foot only succeeded on him bottom edging the ball onto the stumps for a duck. As England cowardly kept giving their wickets away, the vast Australian crowd at the MCG became increasingly louder and louder, screaming their team on as wickets tumbled in rapid and often bemusing fashion. Stuart Broad edged a huge and very unnecessary drive to slip off the bowling of Lyon and in doing so failed to restore any confidence of his “All-rounder” status in the side. Pietersen, fast running out of partners tried to up the ante by attacking Lyon but found Ryan Harris on the boundary who took a brilliant steepling catch. Monty Panesar was last man out lbw for a duck, failing to keep out a fast and straight delivery from Johnson. In a demoralizing performance, lacking any courage, grit or mettle from England’s batsman, apart from Cook and Pietersen, a position of dominance had once again been feebly lost and the advantage gift wrapped like a late Christmas present, handed back to their opponents. The visitor’s last five wickets fell for just six runs in an embarrassing effort that has no doubt sealed another Australian success and a step closer to an impressive 5-0 whitewash by the home side.

With just 231 to chase for victory, neither David Warner nor Chris Rogers appeared to be in any difficulty as they negotiated the half hour they faced before the close of play, ending on 30 without loss. The hosts will be more than confident in chasing a further 201 on Sunday to go to Sydney with a second 5-0 whitewash in three Ashes series down under within their grasp. Any hope of an England victory rests on the fact that no team has ever successfully chased more than 183 in the final innings to win a Test at the MCG since the drop-in-pitches. However the pitch still remains good to bat on and if England are to pull off a miracle victory, they will have to bowl better than they have all tour to record their first test win since August. Even if England pull off the unthinkable, it’s hard to admit that they deserve anything from this match, let alone a victory, due to their dire batting performances.      

Alter Bridge - Fortress Review

Three years is a long time to wait for a new album from a band as active and as assiduous as Alter Bridge. After 2010's ground breaking "AB III" and their subsequent world tour, the band went their separate ways, involving themselves with new projects and collaborations with other musicians. Mark Tremonti released his long overdue but brilliant solo album "All I Was" last year, Myles Kennedy lent his vocal talents to Slash on the ex-GNR's latest effort and Scott Philips combined forces with members of Sevendust and Submersed on the super-group, Projected. However with the American foursome getting back together earlier this year and returning to more familiar ground, their fourth studio album, "Fortress" released by Roadrunner Records has finally hit the stores in the UK and without doubt has been worth the wait!    

With Michael "Elvis" Baskette returning to producing duties after overseeing their two previous albums "Blackbird" and "AB III," Alter Bridge have forged a near-perfect composition and formation of Heavy Metal and Hard Rock elements. These elements are united exquisitely with enchanting melodic and harmonious choruses, establishing "Fortress" as 2013's most important album. The 12-track collection expertly offers listeners a whole range of musical styles, flourishing from start to finish with Metal and Rock, early 90's Groove and Stoner Metal and modernised Hard Rock as well as brandishing Alter Bridge's now distinguished own style of passionate and emotional playing and larger than life choruses delivered with their all-American spirit hard into our ears. In a nutshell "Fortress" is Alter Bridge's definitive Metal album. The components have been existent since their debut album "One Day Remains" but not as explicitly expressed in their latest effort. "Fortress" is a 60-plus minute non-stop rock extravaganza; evoking the sort of rock out tunes that will knock you off your feet, you'll be singing to the top of your lungs and head-banging until you suffer a severe migraine! 

Commencing the album is "Cry Of Achilles" beginning with a flamenco influenced finger picking piece on a Nylon-stringed acoustic before brutally unleashing incendiary riffs and towering rhythms. It is a great progressive album starter and showcases some impressive playing from all four members. Its pretty clear after the 6-minute opener has concluded, Alter Bridge are constructing a castle rather than a fortress. Swiftly following is the album's first single "Addicted To Pain" with its heavy groove, hook laden chorus and fret burning solo it stands as a example of what's to come from "Fortress:" soaring vocals, diverse and thrilling riffs and energetic stadium filler songs. The album's two strongest tracks follow, "Bleed it Dry" and "Lover" with the former an uproar of dark betrayal and deep despair which rains in its emotive flair and breathes the Alter Bridge legacy of radio-friendly but uncompromising hard rock anthems to life. From then on "Fortress" steers on a full metal manifest, harbouring awesome riffing and unique but solid song structures that unite the heaviness of Metal and the charm of Classic Rock; "The Uninvited," "Peace is Broken," and "Farther than the sun" all prime examples of this. Kennedy's versatile and passionate voice reaches new heights on this record, unashamedly brandishing his four-octave tenor vocal range, enabling each track to be executed with complete conviction. Tremonti's skills on guitar just get better and better with his metallic dexterity on "Fortress" simply a dream to behold, showcasing not just his technical ability but also his expertise in harnessing the beauty within the song, note by note. Hell even the axeman gets a go on lead-singing duties in "Waters Rising." Philips on drums really steps up a notch with some awe-inspiring drum patterns that forcefully add to the powerful nature of the record. Brian Marshall on bass adds dynamic and complex grooves, proving his rhythmic influence and asserting his position as the backbone to the band.    

Through their three previously released albums, Alter Bridge have established their talented artistic skills of creating diverse and all-embracing rock music without having to rely on clichéd song formulas. From stepping out of the box and implementing innovative artistic segments and additional layers of creativeness, the band have modernized Rock and Metal styles and in doing so have almost established their own genre, confirming themselves as the definitive rock band of the 21st century. "Fortress" confirms AB'S spectacular impact on Modern Rock, a benchmark set from a unit consentient and fortified, musicians at the very peak of their powers composing music that will be remembered for years to come. As energetic and ingenious as peak-form Led Zeppelin, "Fortress" is a must for admirers of the Hard Rock and Metal scene.  

Stand out tracks: 

Cry of Achilles
Bleed it Dry
Lover
Peace is Broken


Addicted to Pain Video:

My Favourite Rock Albums of All Time

1. Alter Bridge - One Day Remains 2004

Former Creed members Mark Tremonti, Brian Marshal and Scott Philips founded Alter Bridge in 2003. Due to the demise of their previous band, fans were equally sceptical and enthusiastic of what the three could create without Scott Strapp, whom had spectacularly disintegrated down an egoistical and self-absorbed path due to the huge popularity and success of Creed. With the introduction of former Mayfield Four front man Myles Kennedy and a mutual vision of hard and alternative rock roots, the newly formed band hit the studio to contrive an out-and-out rock album minus the attitude and arrogance that had been apparent in their previous stardom. Released on August 10, 2004 via Wind-up Records, the 11-song record opens with "Find The Real," a heavy, hard rock monster of a song with its down tuned metal guitar riffs, catchy choruses and a brilliant guitar solo. The record commences with an instant classic, firmly distancing themselves from their Creed roots with a more aggressive and heavier sound. Continuing the heavy theme of the album, "One Day Remains", opens with a trail of harmonics linking together immaculately before unleashing fast paced, heavy driven verses and choruses and two impressive guitar solos from the ever majestic Mark Tremonti on lead guitar. Tremonti establishes himself as one of the most accomplished guitarists of modern times with his work on the album, not just in his astounding playing but also in his now instantly recognisable writing style. His playing reflects a new summit of sprightliness and excitement, purposefully unleashing his technical ability, something he was restrained from displaying in the days of Creed. Before the album was released the band made it perfectly clear that they didn't want to engineer the distinguished post-grunge sound of their former band and with that said this album goes beyond the Creed sound entirely. Embracing a vast range of sounds and styles, "Metalingus," without doubt the finest track on the album, invokes an opening that explicitly shouts out “Head bang you fuckers” with its ferocious drumming and outstanding guitar riff, it oozes 80s metal. The gorgeous and highly emotional "In loving Memory", an eminently sensitive track written about Tremonti`s late mother is remarkably honest and sentimental for a hard rock group to perform. Expertly written music and melodies are accompanied by the magnificent vocals of Myles Kennedy. Drawing parallels in voice with Chris Cornell and Jeff Buckley, Kennedy introduces a wonderful voice possessing a tenor vocal range that spans four octaves, superbly showcased on the haunting ballad, "Burn it down", and the epically over-the-top first single "Open your eyes", a true highlight of the progression of the band from the days of Creed with sustained focus behind the melody as well as the meaning of the songs being sang. Brian Marshall delivers a bass groove throughout the record that is filled with a thick driving undertone, muscling the force of the songs forward and pounding in your head. On bass he is probably the only man who can compliment Tremonti`s unique style. Scott Philip’s on drums, creates the powerful drive of the album and commends the band brilliantly and enumerates a great solidity to the four-piece. Clearly emphasised on the second single, "Broken Wings" as well as on tracks, "Down to my last", and "Watch your words", the feel of the togetherness and chemistry of the band really shine through. “One Day Remains” is a soaring, emotional modern rock masterpiece and comes at a time when the rock genre is longing for something new and vibrant to push it on again. Tremendous songs and melodies performed by a band that have found instant chemistry, possessing unbelievable talent have added a much-needed new sound to modern rock and fans of this richly entertaining and engrossing music genre should seriously take note of their presence. 

2.Jeff Buckley - Grace 1994

In August 1994, Jeff Buckley released his debut full-length album “Grace.” The son of fellow singer/songwriter Tim Buckley, mixed folk, jazz and alternative rock to unimaginable brilliance to create possibly the most touching and compassionate record ever released.  After over a decade of working as a session guitarist in Los Angeles, Buckley began amassing a small following due to his prominent focus on his own original material as well as frequent performances in New York. After signing with Columbia records, he assembled a band featuring Mick Grondahl on bass and Matt Johnson on drums and percussion and recorded “Grace” before going on tour around North America. Despite its impact at the time of its release far from impressive as it is perceived now, “Grace” introduced an extraordinary talent. Despite Buckley experiencing the difficulties in escaping the shadow of his late father, “Grace” acquainted audiences with a singularly artistic genius, furnished with a wealth of potential. The 11-track record is enthroned with moments of salient and seductive beauty, heavy influenced with its compositional cues from classic and psychedelic rock acts including Led Zeppelin and Pink Floyd and reflective of Buckley’s myriad of influences stretching from Joni Mitchell to Nusrat Fateh Ali Khan.  However the most distinguishable aspect of “Grace” is Buckley’s astonishing voice. Endowed with a tenor vocal range, between three and a half and four octaves, he made full use of this unique range reaching peaks of a high E at the climax of “So Real” and the album’s title track “Grace.”  His abnormal decision to sing high notes with his head voice, rather than in a falsetto and for sustained periods was at the time seen as an unfamiliar feature of a rock singer.  However his refreshing and rejuvenating vocals on “Grace” intensely provided a purposeful and sincere “stop you in your tracks” feel to listeners and marked him down as an artist to follow attentively. First track “Mojo Pin” depicts an equal balance of chaotic ferocity and inobrusive beauty and this deviation of irregular characteristics as well as exhilarating choruses and jangling chords are evident across the album, especially on tracks; “Grace”, “Dream Brother” and “Lover You Should Have Come Over. ” However the album peaks with mesmerising rocker “Eternal Life and the poignant cover of Leonard Cohen’s “Hallelujah,” two completely contrasting songs proving Buckley’s talent for angry rock songs as well as emotive ballads. Buckley’s powerful version of  “Hallelujah” is seen as his most applauded work in mainstream music and is probably the finest example of a cover song that is more associated and celebrated with it’s coverer than its original performer. His predilection of including covers on the album drew some listeners to complain about the excessive nature of their existence on the record but Buckley, like Johnny Cash possessed the ability to turn cover songs and make them their own, implementing their personal unique style on them and bestowing them to perfectly blend in with the rest of the record’s sound. Cohen’s lyrical talent is undeniable but Buckley’s intense passion and audible pain on “Hallelujah” make his version his own and providing it new life. Through “Grace,” Jeff Buckley showed incredible promise and potential and was anticipated to become the next big singer/songwriter of the 90’s. Had this prognosticate come true, Buckley would surely have become as efficacious as Bob Dylan, Paul Simon and Van Morrison. Instead, three years after the release of his debut album, Buckley drowned in the Wolf River Harder, Memphis, aged just 30.

3. Guns N' Roses - Appetite For Destruction 1987

Once in a generation, an album is released that changes the music world forever. A record that sticks two fingers up to the aristocracy and legitimately enjoys inflicting controversy and disruption throughout society, destroying everything in its path, including its own self. The Eighties saw a fair few bands release memorable rock albums; Bon Jovi “Slippery When Wet,” Van Halen “1984,” Ozzy Osbourne “Blizzard Of Ozz,” and Def Leppard “Hysteria.” However none of them captured the attention and limelight like “Appetite For Destruction.”  Released in 1987, Guns N’ Roses debut album was a monster record, showcasing a band far beyond a force of nature. If the technologies of the Internet had existed back then, it would be a fair estimate that mass communication would have imploded under their incredible popularity. Guns’ were beyond a collection of simple misfits with an adolescent and immature approach to life. They were five extremely skilled musicians  driven for fame, women and success, emphatic rebels and all held together by a troubled but equally brilliant lead singer. W Axl Rose, like most geniuses had an astounding array of issues and flaws. However his were so crippling and relentless, they perfectly illustrated what a single-minded, obstinate and abhorrent prick looks like. It was these hosts of problems that precisely define him, as the brain’s responsible for the greatest hard rock album of all time. “Appetite,” delved listeners into a booze-soaked, sexed up and smack addled tour of Sunset Strip and the LA rock underground. It is without doubt the most “Rock N’ Roll” album of its genre, exhibiting the clichéd traits of sex, drugs and rock n roll to the absolute max. The record captured Hard Rock in all its extravagant, reckless and preposterous glory. Full of anger and furious aggression, mainly down to Axl Rose furiously spitting out degrading tales of LA with sharp-tongued wit, “Appetite” was a compelling, addictive and uncompromising masterpiece, holding fixated teenagers across the globe hostage to its terrorising sense of belief. Throughout the album, Steven Adler’s thunderous drumming, Duff MacKagen’s solid and free flowing bass grooves, the masterly duelling guitar performances of Izzy Stradlin and Slash and Axl’s four octave eviscerating rock screech spectacularly transformed the hard rock movement of the eighties and in itself Guns N Roses became the envisage of classic rock. Despite heading up the rock scene along with their hair metal peers, Guns N’ Roses were completely opposite in both image and mood. Whilst Mötley Crüe and Poison were glam, Guns were grit. Whilst Bon Jovi were livin’ on a prayer, Axl and co were dancing with Mr Brownstone. When Def Leppard were pouring sugar on love, Guns’ were taking their credit cards to the liquor store for another bottle of Nightrain. With the release of “Appetite,” Guns’ were expected to become the Led Zeppelin of their generation. However 6 years after its release, they failed to live up to the prospect and the original line up was consigned to history. Despite this, “Appetite For Destruction” lives on as a memoir of the sleazy LA underground, full of prostitutes, dealers, dope friends and the escapism of the American dream. Widely regarded as the greatest rock album of all time, comprised of some of rock’s most popular anthems; “Welcome To The Jungle,” “Paradise City,” “Sweet Child O’ Mine,” “Appetite For Destruction” has become the most successful debut album of all time, selling in excess of 30 million copies worldwide.     

4. Pearl Jam - Ten 1992

Following the disbanding of previous group Mother Love Bone, bassist Jeff Ament and guitarist Stone Gossard enlisted drummer Dave Krusen, guitarist Mike McCready and surfer fanatic Eddie Vedder on vocals for a new project. Consisting of experimental instrumental jams, Pearl Jam developed incredible camaraderie and fluidity in their playing and with the addition of Vedder’s lyrics; the album sessions were completed within a month and “Ten” was completed. Released during the vanguard of the Seattle Grunge incursion in 1991, “Ten” whilst stagnant to begin with in shipping sales, soon caught the attention of young teenagers in their adolescent Grunge state and became the band’s most successful album release, reaching number two on the Billboard Chart and selling over 10 million copies. Despite competing with fellow Grunge band Nirvana, in a popularity contest they had little chance of winning, Pearl Jam produced a far superior and meritorious record, eclipsing anything Cobain and co could ever dream of exhibiting. Whilst Nirvana centred on Cobain’s broken dream, factoring a juvenile attitude that everything and everybody was against him, Pearl Jam shone the spotlight on society, concerning other people, not themselves. Despite not brandishing the cult of personality Nirvana showcased, Pearl Jam’s debut record was ultimately surpassing in every way  lyrically, technically and emotionally. “Ten” conveys an introspective narrative, an emotionally larger then life Roller coaster ride, producing roaring innovative guitar work, majestic drums and bass and wholehearted vocals. Tracks including “Once,” “Even Flow” the beautiful ballad “Release” and “Garden” showcase the record’s impressionistic lyrics, passionately delivered by Vedder. “Alive,” probably the album’s ultimate anthem, commences with a slow, methodical guitar intro before being dominated by Vedder’s distinct and melodic vocals and concluding with one of Rock’s most acclaimed and distinguished guitar solos. Though not one of the most popular albums within the Grunge movement, “Ten” certainly is however the finest record to have been derived from that era of music. A near – perfect effort that pushed the boundaries on emotionally charged rock in conventional music, “Ten” was instrumental in popularising alternative rock music into the mainstream, and widely considered as the most important album of the 1990’s. 

5.Led Zeppelin – Led Zeppelin 2 1969

During the late 60’s Led Zeppelin had become the biggest band on the planet. They had progressed to nothing short of a sensation with fans and critics alike with their phenomenal live shows, exaggerated arrogance and debauching off-stage antics that had erupted to legendary status. “Led Zeppelin II” released in 1969, emerged with a tighter, heavier and more polished effort than their debut release but still remained true as well as amplifying Jimmy Page’s musical vision. Mostly written and recorded in between touring commitments, the album introduces Robert Plant’s advanced assertion as a songwriter and gave birth to the Page-Plant writing partnership that would contribute the bulk of Led Zepp’s songs. “Led Zeppelin II” commences with a menacing riff comprising of “Whole Lotta Love” and from then on the album is nothing short of a masterpiece. Despite Page being the dominant instrumentalist in the band, throughout the record each member conveys effortlessly their unique talents as well as the impeccable chemistry between the foursome heavily flourishing. John Paul Jones’s soft keyboards and Plant’s tender voice on “Thank you” can only be described as pulchritudinous and the two-minute John Bonham drum solo featured on “Moby Dick” still to this day leaves the listener completely exhausted. Among the record’s most distinguished attributes are the avant-garde mid sections of certain songs such as “Heartbreaker” and “Whole Lotta Love” featuring some of the most advanced studio experimentation of the time. The band, along with engineer Eddie Kramer who had previously collaborated with Jimi Hendrix, were able to create mystical and unearthly sounds in the middle of accessible and rhythmic songs, something that had not been attempted before in mainstream rock and roll.  Despite Black Sabbath establishing the genre of heavy metal, “Led Zeppelin II” has been cited as the blueprint for heavy metal and hard rock that many bands have pursued. With a guitar infused riff, rather than a vocal chorus or a verse, defining the song’s signature and sound, Zeppelin have influenced a whole host of rock acts including Guns N Roses and Aerosmith. Since its release, the album has been acknowledged as one of the most decisive and influential rock records that has sold nearly 13 million copies worldwide. In a nutshell, “Led Zeppelin II” is 40 minutes of rock history, a fundamental listening experience that should not be missed by any fan of rock music. 

6 . Alice In Chains – Dirt 1991

Alice In Chains second studio album “Dirt” released in 1992 was the band’s defining record release and also their most successful. Focusing on themes such as depression, anger, war and drug use, the Seattle-based band rose to International fame as part of the grunge movement in the early 1990’s alongside bands such as Soundgarden, Pearl Jam and Nirvana. Prognostic in its intent and appeal “Dirt” is a major artistic statement delivering a musical masterpiece and producing one of the most harrowing concept albums ever recorded. Even considering its dark nature, “Dirt” is heinously unadorned, similarly resembling the haunted landscape of its cover art and holding out no sense of utopia or belief for its protagonists. (Aside from “Rooster,” a survival story in tribute to guitarist Jerry Cantrell’s Vietnam-vet father) However “Dirt” compensates its demeaning themes and values by the genuineness of its self-revelation and acute focus of its music and direction. Despite embodied in the bracket of grunge bands of their generation, Alice In Chains infused metal and punk qualities in their music, which was embraced by fans of all three genres. Marketed as the most metal of the Seattle bands, Alice In Chains, whilst refusing to acknowledge any genre labels thrown their way, instead churned out some the finest alternative metal songs including “Would,” “Down in a Hole” and “Them Bones.” Technical abilities of the members shine throughout the record, contributing almost equally to the aptitude and dynamism of the music experience. However, the highest approval centres on Layne Staley’s and Jerry Cantrell’s combination to create such a surreal and disturbing atmosphere on the album with possibly one of the greatest ever examples of two singers harmonising perfectly together to create a discomforting envisage of pain and suffering. “Dirt,” spawned five top 30 singles and remained in the charts for over a year and is widely considered as one of the greatest albums of the 90’s. 

7. Metallica – Ride The Lightening 1985

Released in July 1984, “Ride The Lightening” was Metallica’s second album release and the first to feature new lead guitarist Kirk Hammett after the release of previous axe wielder Dave Mustaine. Despite a music war that still to this day rages on as to what album is better; “Master of Puppets” or “Ride The Lightening” the former conquers the bands third release due to Ride The Lightning’s ability to induce melody and atmosphere into their Thrash attire. Aggressively expanding their compositional technique and range of expression as well as distinguishing a viridity between every track, every musical experiment and composition on the album succeeds mightily.    The record was a huge step for Metallica after their first album “Kill em’ all” and firmly established the band as the true Four Horsemen of Metal. Whilst sounding a little premature on their debut, Metallica stepped it up in their following release, including eloquently written and catchier songs as well as delivering a much more precise and highly motivated record that would secure their status as one of Metal’s biggest and most important bands. The record commences with “Fight Fire With Fire,” freely displaying the band’s evolved and elaborate concentration on delivering a more harmonically complex style of song writing. Throughout the album, the bands individual and combined brilliance is evident especially in the Hemingway novel inspired “For Whom The Bells Toll,” the energetic thrashers “Trapped Under Ice,” and “Ride The Lightening,” the astounding instrumental “The Call of Ktulu” and of course the haunting power ballad “Fade To Black.” Beginning with an acoustic-driven minor key serenade, “Fade To Black” then proceeds to get slashed open by euphoric distorted guitars and climaxes with a fleeting, yet emotional guitar solo. “Ride The Lightening” showcases Metallica at their absolute brilliance, brandishing ambition and an appetite that Heavy Metal had not experienced since the introduction of Sabbath. Featuring attributes such as maturity, melody and above all, musical intelligence, “Ride The Lightening” delivered a broader metal scope for the band as well as developing the capacity and dimension of Thrash Metal forever.   

8. Pink Floyd – Dark Side of The Moon 1973

One of Britain’s most endearing and successful rock bands, Pink Floyd had already enjoyed relative success during the mid-sixties with their experimental mix of psychedelic and progressive folk rock. However in 1973 with the release of their eighth studio album, “Dark Side of The Moon” Pink Floyd achieved incredible commercial and critical prosperity, firmly announcing their popularity on the music scene, both sides of the Atlantic. The concept album is one of the most commercially successful rock albums of all time. When it peaked at Number 1 in the US, it remained on the Billboard chart for over fourteen years and sold in excess of 40 million copies worldwide. In Britain, the album reached number 2 and spent 364 weeks in the UK chart. Building on experiments the band had attempted in previous shows and recordings,  “Dark Side of The Moon” combines themes and emotions including greed, insanity and conflict as well passionately exploring the nature of human experience. Using some of the most advanced recording equipment and techniques available at the time, the album displayed what could be eloquently achieved with four intelligent musicians, utilizing electronic instruments and wielding an armoury of sound effects with confident mastery and finesse. Whether its “Breathe,” “Money,” “Time,” or “Brain Damage,” the tracks on “Dark Side of The Moon” disseminate a record with textual and conceptual richness, demanding the listener’s involvement in their philosophical and abstract world. Frequently ranked as one of the greatest albums of all time, “Dark Side of The Moon” has also been a major influence on bands such as Tool, Dreamthreater and Queensrÿche. 

9. Red Hot Chili Peppers – Blood Sugar Sex Magik 1991

During the eighties, The Red Hot Chili Peppers had contrived their own brand of alternative pop, punk and funk metal/rock. Confidentially progressing this contemporary and increasingly popular genre through albums such as, “Freaky Styley,” “The Uplift Mofo Party Plan” and “Mothers Milk” it wasn't until “Blood Sugar Sex Magik,” under legendary music producer Rick Rubin, that the Chili’s finally found a sound that both blended their own funk fusion as well as introducing them to worldwide popularity and critical acclaim. The album whilst integrating their typical funk style, focused more on structure and melodically driven songs, shifting away from the heavy distorted guitar riffs and slap bass techniques of previous album, “Mothers Milk,” “Blood Sugar” focused more on traditional and symphonic playing. The record expanded the Chili Peppers' musical horizons and emotional range, blending soul-funk and a heavy influenced blue’s style with a raw and powerful tone, creating an explosive formula that has yet to be matched or even duplicated by any band since. Despite the release of the album in conjunction with the explosion of Grunge music that captivated teenagers in the early 90’s, “Blood Sugar” served as a step away from this newfangled musical revolution, proving to be a fundamental foundation for alternative rock and in the process soaring the band to unprecedented heights of success. Tracks including, “The Power of Equality,” “Suck My Kiss,” “Give It Away,” and the emotional ballads “I could have lied,” and “Under the Bridge,” fully emphasise their unparallel dexterity of genre bending as well as defining “Blood Sugar” as a phenomenal record and a true advancement of modern rock.  

10. Black Sabbath - Black Sabbath 1970

Released in January 1970, Black Sabbath’s official debut album was a monumental record release that consummated the development of 60’s post Led Zepp hard rock and perfected a whole new rock sound rock for a generation.  Lauded by many as perhaps the first true heavy metal album, Black Sabbath’s introduction into the music sphere has been credited for pioneering such music genres including “doom metal,” “death metal,” and “Stoner rock.”  Between four ordinary men from the Black Country; Tony Iommi, Geezer Butler, Bill Ward and Ozzy Osbourne, Sabbath (formally know as “Earth”) tore up the rule book of rock n roll and in their own druggy state of consciousness, released a record containing some of metal’s most legendary songs including “Black Sabbath,” “The Wizard,” and “NIB.” Transfiguring blues and psychedelic rock into something more sinister and uglier, Sabbath’s characteristics of evil, paganism and cult worshipping accompanied their simple but incredibly effective use of pentatonic blues scales and swift power chords to create the 70’s most defining rock album.  

300 Test wickets for Jimmy!

On Friday 17^th of May, with the dismissal of New Zealand’s opening batsman Peter Fulton on the second day of the First Test, James Anderson became only the fourth Englishman to have taken 300 Test wickets. Needing only two more wickets before the game had commenced to reach the landmark, Anderson wasted no time in accomplishing the feat, with the quick dismissals of the New Zealand opening batsman. And as it was when it arrived, produced like so many of the unplayable deliveries Anderson has conjured up over the years: rapid pace, shaping away, taking the edge and caught in the slips, the lad from Burnley become only the 26^th player in World cricket to achieve the milestone. Joining other England greats; Ian Botham, Bob Willis and Fred Trueman, Anderson is amongst the company of some of the finest bowlers to have represented his country, however some commentators of the game refuse to acknowledge him as one of the best England has produced, despite his impeccable record. 

 

In reaching the milestone by playing the exact same number of test matches as Bob Willis, but significantly more than both Botham and Trueman, Jimmy Anderson nevertheless still deserves his position in this select fall of fame. As a 20-year-old, with raw pace and a youthful skip in his step, Anderson was practically drafted from second division cricket into the national One-day side in 2003 as cover for Andy Caddick, despite not having a number or even a name on his shirt. Possessing a raw talent of curving the ball late in the air at 90mph plus, he was lethal on his day, but inconsistency and injuries looked to have cut short a propitious career. 

However, recalled to the England team on a regular basis in early 2008, Anderson confidently progressed into the leader of a resurging and promising new bowling attack including the likes of Stuart Broad and Tim Bresnan. His spare and athletic frame has facilitated an outstanding fitness record where in the last five years and 64 matches, since his return to the national side, Anderson has evaded just one Test through injury. With such an impeccable fitness record, its a wonder how Anderson has achieved such success with his good health and strength despite consistently appearing for England in all forms of the game and especially the incredible workload international cricketers are now subjected to. During the last five years, he has evolved into a peerless exponent of a cricket ball in any condition, on any surface, home or abroad.  Described by former England Captain Michael Vaughan as, “one of the most skilful bowlers on the planet and capable of magical moments on a cricket pitch,” Anderson has implemented a broader repertoire of deliveries than any other fast bowler playing the game with pinpoint accuracy.  

Since 2008, through expansive experience of different conditions and the technical proficiency and knowledge of various bowling coaches including Allan Donald, Otis Gibson and David Saker, he has perfected his art. Allied to his exquisite talent of swinging the ball either way at his fingertips with no distinguishable or apparent change of action, Anderson has also obtained a meticulous control of line and length. He has developed into a human extension of the scientific analysis of the game, enabling to methodically undertake bowling coach’s conscientious plans for each batsman, enabling him to conduct a forensic examination of their technique. Over the years, he has become effectively three bowlers in one. If you require curve balls to left-handers from around the wicket, throw the ball to Anderson. If it is precise out-swingers to dominant right-handers, he is your man. If it is ferocious line and length on a flat pitch with no movement, reducing the opponents run scoring, you know you will get it from Anderson. 

Since his recall five years ago, Anderson has taken more wickets (241) in that time then anybody else in the world. Judging from the statistics, they are not just any old wickets either. South Africa, India and Australia have been the teams most affected by Anderson’s brilliance with over half of his test wickets taken against them. Any arguments that he only dominates teams at the bottom of the world rankings are completely unjust, with only 20 wickets taken against Zimbabwe and Bangladesh.  The list of his most persistent victims reads like a World Eleven side, featuring some of the greatest batsman to have ever graced the sport. He has dismissed Sachin Tendulkar more times (Nine) than any other bowler. Other batsman that have suffered at the hands of Anderson include: Jacques Kallis, Michael Clarke and Graeme Smith, all three who Jimmy has dismissed seven times in his career. Sri Lankan’s Kumar Sangakkara, Indian legend Rahul Dravid and former Australian captain Ricky Ponting are also popular scalps of Anderson. He has become a fearless pacer bowler, regularly striking gold and proving what you can achieve if you are as gifted as him in swinging the ball with forceful pace.  

Despite his sensational record of the last five years, his wicket-taking average is still above 30, (30.14) which doesn't fully convey his unique bowling abilities. Compared to other England greats; Botham -28.40, Willis- 25.20 and Trueman-21.57, his average is higher than the past masters, but considering a dawdling start to his playing career, the fact that pitches do not deteriorate as quickly as they used to and not forgetting the improvement on tail-end batting, Anderson can reflect on a remarkable achievement of reaching 300 test wickets. Of those still playing Test cricket, only three bowlers: Harbhajan Singh (413), Daniel Vettori (360) and Dale Steyn (332) have accumulated more wickets than Anderson.   

With England due to play 11 tests in the next nine months, including the Second Test against New Zealand next week and back-to-back Ashes series, expect Anderson to motor past Trueman and Willis on the England wicket taking charts leaving only Botham ahead. He is already England’s all time wicket taker in all formats of the game with 550 wickets, overtaking Sir Ian Botham’s total of 528 in February this year. It is no understatement to express that James Anderson is one of the greatest bowlers this country has ever produced. At only 30 years of age, he is in the prime form of his cricketing career and has at the very least, depending on injuries another five years left in him. Over the next few years, Anderson will surely top the England list of most Test wickets taken, but could also challenge the list of leading wicket takers in World cricket and potentially become greater still.   

Successful return for Perry as Worcester Cavaliers defeat The Army

Thursday 7^th March 2013

Shaun Perry returned to action with an impressive 40-minute performance as Worcester Cavaliers defeated The Army 66-30, in an entertaining encounter at Six ways on Wednesday night.

The former England scrum half had been ruled out since autumn last year with injury, but produced a notable first half display, crowning his return by racing over for a well-taken score.

The annual fixture was once again run in conjunction with the “Little Warriors” community project with all proceeds donated to The Warriors community Foundation and The SSAFA Forces Help.

The home side took control by the break with a brace from hooker Ollie Hayes and further scores from Captain Richard de Carpenter and winger Colin Dickson while Enosi Nabukebuke also grabbed an impressive double.

Joe Carlisle, John Hughes, Alastair Thompson, De Carpentier and Dickson all touched down in the second half for the Cavaliers.

However it wasn’t all that easy for the Cavaliers as the spirited Army hit back with several well-worked tries of their own. Ledua Jope took a quick tap penalty and when the Army won another penalty, Ceri Cummings slotted in to reduce the home sides lead.

Nabukebuke picked up a wayward pass from Hughes and the winger tore down the left side to score, putting the visiting side ahead. Nabukebuke grabbed his second of the night as well as well worked tries from James Read and Luke Bellinger but The Cavaliers were just too strong on their home turf, ending up comfortable winners.

Speaking about Perry’s return, Mark Hewitt, Academy Coach for Worcester Cavaliers was pleased with his performance.

“It was a big game for Sean to come back to but he did well. We always planned for him to play 40 minutes.”      

His two wingers, Dickson and Josh Watkins, also impressed Hewitt. “They played extremely well and they put their hands up by showing what they could do. It's hard to highlight a player as man-of-the-match when everyone plays well but they certainly impressed me.”

Ends

Cavaliers:

01 Ceri Jones

02 Ollie Hayes (Thompson 61)

03 Rob O'Donnell (Cosgrove 35)

04 Nile Dacres

05 Craig Gillies

06 Sam Betty (Chaudron 46)

07 Richard De Carpentier (Matavesi 76)

08 Ed Taylor (Perks 64)

09 Shaun Perry (Hodgson 40)

10 Danny Gray (Wardle 17)

11 Josh Watkins

12 Joe Carlisle

13 Josh Matavesi (Elders 61)

14 Colin Dickson

15 John Hughes

Replacements: 16 Alastair Thompson, 17 Jack Cosgrove, 18 Matt Perks, 19 Louis Chaudron, 20 Paul Hodgson, 21 Jack Wardle, 22 Ashley Elders

Referee David Procter 

The Last Stand Preview - He said he'd be back!

Despite minor cameos, teasing audiences franticly desperate for his return to the big screen, Schwarzenegger is finally back in his first lead role since the third and largely forgotten Terminator film: of course in accustomed territory…a vintage overblown action movie.

Soothing his way back into acting with minor parts in The Expendables and its grandiloquent sequel, Arnie has dusted off his Governor garments and in The Last Stand (opening in cinemas in the UK in four days time) the 65 year old plays Ray Owens, an aging border-town sheriff, who must wipe out an escaped cartel and his entourage of delinquents who are heading for the Mexican border. 

From viewing the full trailer it’s clear The Last Stand has all the key ingredients of the classic 1980s/90s action flicks we have grown to love over the years. World – weary protagonist coughing up one liners..check! A lionhearted comic relief sidekick..check! High death count..check! Countless shootouts and bone – crunching fistfights..check! I could go on, but its clear to see director Kim Jee – Woon (A tale of two sisters, I saw the Devil) seeming to have a good time with these tried and true euphemisms whilst also delivering a contemporary edge, keeping proceedings feeling crisp and energetic. 

The Last Stand announces Kim Jee-Woon’s first Hollywood feature. The supremely talented Korean filmmaker has been heralded for his work including cult horror dramas and high – octane westerns. Notably accustomed in delivering disturbingly dark and heavy features, Jee-Woon also has an appetite for tongue in check humour and while The Last Stand appears to have its austere moments, Andrew Knauer’s script certainly commands for the latter approach.         

We’re have to wait and see if Knauer’s script exhibits more memorable gags for Schwarzenegger than what’s evident in the trailer. The legendary action star with a hunger for effortlessly dispatching bad guys along with fabled one-liners deserves more than simply, “I am the Sheriff!” Quite unfortunate that “I am the law!” is already taken.  However the full advert no doubt shows off that The Last Stand will be the proudly over-the top, shamelessly violent and frequently funny high-octane action flick we have been waiting for along with Arnold’s return. With old school ideas and wildly kinetic set pieces, the first major action movie of 2013 will offer audiences some rapturous fun as opposed to the gritty realism of recent cinema releases. 

        Heres another chance to wet your appetite for next weeks release!