I bet many don’t know about the guitar break in the middle!

I reckon you could probably tell how old someone is by what pictures they associate the boing with. For me, it is a snooker ball going down a pocket — or that goalkeeper’s handstand save. Sadly I haven’t been able to find either of these on YouTube.

Here are a few of the title sequences from over the years.

Grandstand really ought to still be on TV for the theme tune alone. If you ever wondered why it is no longer on TV, here is the answer. It was killed forever by a weedy remix. They even removed the boing!

The terrible music is bad enough. But what is incredible is that almost everyone in the video is doing anything apart from watching Grandstand. They are in the gym, drinking coffee, playing pool, and even doing the shopping. But they are not on the couch watching five hours of sport (apart from the young family at the end, but that is totally implausible).

Needless to say, the remix didn’t last.

It was a rocky path to recovery. This one from 2004 is bad in the opposite way. There is too much happening, but the classic montage style is gone. Worst of all, the theme tune is being spoken over!

Here is the beginning of the final episode of Grandstand, from 2007.

But I wasn’t feeling it quite as much as many others were. I thought the Chinese Grand Prix was okay. But the reaction of others left me perplexed. All kinds of platitudes were bandied about. “The best dry race in decades!” “The best since Japan 2005!” Really? I wasn’t feeling that at all.

But I couldn’t quite put my finger on what was leaving me cold about F1 in 2011. There have been a lot of changes for this season, which has led to a very different style of racing. But what was it about the new F1 that was leaving me less thrilled than others?

It took me some time to work it out. But once I hit on it, the worse it seemed — and it has left me feeling a bit pessimistic about the prospects for truly good racing in 2011.

A pain in DRS?

A lot of attention has been focused on the brand new drag reduction system. Results of the DRS have been patchy.

At some races — particularly Australia — the DRS has been just enough to allow a driver behind to catch up. At the opposite extreme, in Turkey it was obvious that the DRS zone was far too long, and drivers were making easy passes that were not pleasing to watch.

The core problem is that it gives one driver and advantage over another — a significant deviation from the purity of racing. Comparisons to turbo boosts in the 1980s are no good. It may be a button that drivers can press, but there the similarity ends.

Back then, all of the options were open to everyone. You could choose to have a turbo or not, and you could use it whenever you wanted. But to say who can use a device and when they can use it is not on.

To artificially give the trailing driver a speed advantage is taking us into Mario Kart territory. As a friend said to me, “It’s like they have allowed cheating”. It is fundamentally wrong and does not belong in any event that calls itself a sport.

I love the idea of moveable rear wings, but the implementation is all wrong. I don’t even understand why it can only be used in one part of the circuit. As Niki Lauda said, why is it the FIA’s job to say where drivers can pass each other?

Moreover, the hit and miss nature of the DRS zone is leading to different sorts of results in different races. The zones change size, and sometimes the FIA have got it wrong. They have even changed the position of the DRS activation point during a race weekend. What other word is there for this apart from ‘manipulation‘?

This may be a device designed to “fix” the “problems” with overtaking. Instead, we have come one step away from fixing the results.

F1 has sold its rubber soul

But I am more concerned about the situation with the new Pirelli tyres. While the DRS is widely criticised, people have been much kinder about the tyre situation. Indeed, one of the more popular refrains this year has been “thank you Pirelli”. But I am in no mood to thank them.

They are designed to degrade artificially quickly. This is a significant deviation from the concept of F1. Formula 1 is now no longer about the best drivers in the best cars. It’s about the best drivers in the best cars — with the worst tyres.

While technical regulations have always restricted cars (it is the “formula” in Formula 1, after all), the tradition has always been to maximise the performance to create the fastest car possible that adheres to the formula of the day. That is what brings us radical ideas like the double diffuser and the F-duct, that many F1 fans love to talk about.

With the tyres, Pirelli have deliberately made them perform badly. Come on, this is supposed to be elite motorsport.

Moreover, these dodgy tyres have now become the central issue of a grand prix weekend. I have long bemoaned the dominance of tyres in F1. If a car has better aerodynamics, you can see it. If an engine is faster, you can hear it. But the tyres? They are just black boxes that sit in the four corners.

But there is no getting away from it — tyres are hugely important to the performance of a car. What I don’t understand is why you would want to accentuate that.

Critics of F1 often complain that the drivers of the best cars always win. What these people misunderstand is that F1 is all about engineering excellence, just as much as it is about great driving.

But now we have now reached a stage where the deciding factor is neither the driver nor the car. It is now all about strategy — driven by deliberately dodgy tyres — above all else.

They are now so important that the situation is now threatening to make qualifying a complete non-event. After all those years spent tweaking the format of qualifying in the name of “the show”, you have to laugh when further changes totally break a format they finally got right.

The reason? Because you need as many fresh sets of tyres as possible to last the whole race. This means less track action on Saturday, as teams are fearful of using too many sets of tyres. What is this, Formula 1 bean counting, or Formula 1 motor racing?

Divergent strategies reduce real racing

In addition to spearing Saturday action, it is my view that the tyres situation is making Sundays less exciting too.

Take the experience of Mark Webber. He climbed from 18th on the grid to finish 3rd in China. You’d think if anyone would be excited about the wheel-to-wheel action in 2011, it would be him. Not so much.

After the race he told the BBC, “Sometimes the overtaking moves aren’t that genuine because the guys really have nothing to fight back with. It’s more tactical now, and a bit less racing.” During the BBC’s broadcast from Turkey, Martin Brundle revealed that Webber had told him privately that he got no satisfaction out of the progress through the field in China. James Allen further hinted at Webber’s distinct unhappiness at the situation.

Following Turkey, Jenson Button lay the blame for his poor result squarely on his strategy. Asked about what happens when his tyres go off, Button said, “You’re not racing any more. You’re trying your best to get the best out of the car, but you’re not racing anyone around you because you are a sitting duck… They just come past you and you can’t do anything.”

Overtaking has looked like it’s too easy this year, and it is not just because of DRS. The situation with the tyres means that drivers are dealing with such radically different levels of grip that the slower driver does not even bother to defend any more.

Many celebrated Lewis Hamilton’s pass on Sebastian Vettel for the lead of the Chinese Grand Prix. But for me, it killed the race as soon as it happened. I was hoping for Vettel to be able to defend, but he simply couldn’t. As it was, the pass was inevitable for laps in advance.

In the laps between Hamilton’s pitstop and his pass on Vettel, the McLaren driver was an average of 0.9s a lap faster than the Red Bull. (At one point he set a lap time 1.6 seconds up on Vettel.) To put this into perspective, during Q1 in China, a 0.9s gap to the fastest driver would have earned 18th on the grid.

Is it really exciting to watch a car that’s got an advantage of around one second a lap breeze on by? Not for me. This isn’t overtaking — it’s merely passing. It’s hardly Dijon 1979, is it? Today René Arnoux would flip his flap, press his boost button and head off into the distance on his superior tyres — race over.

The performance differences are huge, and it is all down to decisions that are made by computers far in advance. It is out of the driver’s hands. What is this, the Excel Grand Prix of Spreadsheet?

It is right that strategy plays a part in a race. But this year the balance has been tipped way over the edge, to the point where the driver’s influence on the outcome of the race has been severely diminished. You almost may as well hold the grand prix on a computer where all of the strategies have been put in.

To open up strategy options for this season without resorting to crap tyres that create crap pseudo-racing, they could simply have ditched the rule whereby drivers are forced to run on both compounds. This would have opened up the possibilities of running a 0, 1 or 2 stop strategy.

Instead, we are now seeing record-breaking levels of pitstops — upwards of 80 pitstops a race — for no good reason. This has taken away the emphasis from the on-track action, and has made huge amounts of the “racing” totally irrelevant.

It wasn’t broke, so why “fix” it?

The most disturbing thing about all the changes this season is the fact that there was very little wrong with Formula 1 in the first place. I didn’t complain that Formula 1 is dull. And while there was room for improvement, I have long bemoned the gimmicky thinking that has come about through efforts to “improve the show”. Now it is in danger of jumping the shark.

I love Formula 1 motor racing. I have done since the mid-1990s. There were lots of other people who claimed they also loved F1 — but at the same time complained about “processional races”. They said that F1 was too dull. Yet, for some reason, they still watched it anyway, and demanded changes. Huh?

I feel like the sport I love has been hijacked.

I also believe that the criticisms of the new format have been misunderstood by some insiders. It is not “too much overtaking” or “too much of a good thing”.

James Allen said, “it’s a bit like going into a sweet shop and eating half the stock, when you’ve only been used to getting a packet of Polos at best.” That’s not how I feel. It’s actually more like going into a nice restaurant expecting a good meal and being served a Big Mac instead.

Time to end the fixation with “the show”

Don’t get me wrong. I am still deriving satisfaction from Formula 1 this season. But the wheel-to-wheel action has become a lot more insipid this year, and bland passing has become so prevalent that overtaking has become devalued.

Kers is great for Formula 1. But the tyres situation, combined with DRS, is threatening to spoil the party. It wasn’t broke, but they fixed it anyway. But in “fixing” the racing, we have come just one step away from fixed races. The positioning of the DRS zone, determined by an FIA mandarin, could potentially make the difference between who wins and who loses.

Somewhere along the line, F1 has become so fixated on “the show” that it has forgotten about the race. There are now too many gimmicks and complications that deviate from the core concept that has served motorsport well for over a century: put a bunch of cars on a track and discover which is the fastest.

Of course, motorsport must always seek to entertain the audience. It wouldn’t exist otherwise. But you also need to remember why fans of motorsport tune in. Clue: it’s because they want to see a motor race. There are plenty of other places where you can be entertained by contrived or fictitious means.

But sport is supposed to be based on merit. It needs to be real.

When Renault’s James Allison said “We are an entertainment business,” it showed how wrong this whole approach is. We are dangerously striding towards WWE territory. If James Allison wants to work in an entertainment business, he can go to work in Hollywood. I want to watch a race.

The toxic focus on “the show” needs to stop.

This is a show:

This is a race:

Now, let’s go racing.

• Patrick Head
• Sam Michael
• Adam Parr
• Frank Williams
• Toto Wolff

This has been a turbulent week for Williams. Sam Michael has resigned as the team’s technical director. Along with him, chief aerodynamicist Jon Tomlinson will also go. The team’s Chairman Adam Parr also offered his resignation. It is a sign of just how desperate things have become after Williams have hit yet another new low at the start of this season.

But the recent moves just the latest in a Williams team that seems to endlessly change its shape. I am far from a business expert. Far be it from me to tell Williams that they are doing it wrong. But from the outside, it does sometimes seem like a case of too many cooks spoiling the broth.

Who calls the shots at Williams? It’s hard to say. There are the five names I listed above. To that list, you can now add the public shareholders, whose views also surely have some sway.

This too many cooks phenomenon appeared to be underlined by the apparent confusion over whether or not it has been announced that Patrick Head is planning on retiring within the next year. Adam Parr had announced it, but it appears as though he jumped the gun.

The Guardian went as far as to describe it as “open conflict”.

In a conference call Parr told reporters: “Patrick has made it clear that he will be retiring this year. That’s nothing to do with the restructuring, it’s just the fact that he’s turning 65 and had already signalled that it’s time for him to move on to his next set of interests in life.”

But Head has since denied Parr’s claims, saying: “What you are telling me is news to me. I wasn’t aware that Adam had said that.

“He wasn’t in a position to make that statement. My plans are not in the public domain and they will only be when I make my own statement later in the year.”

Ouch.

Adam Parr is obviously good at his job. That is clear from the fact that Williams did not accept his resignation offer. But does he overstep his remit?

People who read F1 news websites will be highly familiar with Adam Parr. He is chairman now, but even as CEO he was a very prominent figure in Williams. He is constantly in the news, providing everyone with information about what’s going on at Williams.

But how many could name Mr Parr’s predecessor as CEO? It is Chris Chapple. He wasn’t in the job long, but nevertheless the point remains that I had never heard of him. I have not even been able to find out who was the head of finance at Williams before then. How many could tell you who the current CEO is? (It’s Alex Burns.)

As part of this picture, what is the role of Frank Williams? Of Patrick Head? How about Toto Wolff, who bought a share of Williams last year? He appears to exert a fair bit of influence too — he was making rumblings in the press last week just before the turmoil truly began.

I think with most other teams you could name one or two people that are so prominent within a team. From the outside, it is not a clear structure. At McLaren, for instance, you can say the buck stops with Martin Whitmarsh. But where does it stop at Williams?

This is probably as a result of an attempted handover. It is about preparing for — or reacting to — a time when Frank Williams and Patrick Head have less energy and motivation than they had in the 1980s and 1990s when Williams could be world-beaters.

But the handover seems to have been botched — and the picture only gets more complicated as time goes on. Have the money men taken over from those that love racing and want to win? I was interested in a point made by Todd over at Formula1Blog.com. They seem to be settling for sixth in order to meet their business obligations and no more.

Clearly this is a difficult time for Williams. Yet more change is in the works. I hope they can get it right soon, because no-one wants to see Williams doing so badly.

Last week when I saw that a German website had written about this, I prepared a simple but telling graph looking at the form of Williams over the years. But I refrained from publishing it in case my conclusions were overly harsh.

But today the team’s technical director Sam Michael has come out and said for himself that the recent performance of Williams is not good enough.

What I would not be happy with doing would be not changing anything – even myself. Even if everyone said everything is perfect, I know it is not. So, I am not happy with the job that we have done as a group. I would review that anyway – including myself. I don’t exclude myself from any of that.

I, as technical director, have chosen the technical team that works for me… They are all people that I have chosen to put in those positions, so if it doesn’t work then it is my responsibility.

This is refreshing honesty. It is no secret that Williams’s form has been disappointing in the last few years. But it has never been properly confronted.

In the light of Sam Michael’s comments, here is the graph. It tracks the Constructors’ Championship positions of Williams throughout its 32 years in Formula 1. Alongside the annual positions, I have added a five-year rolling average to allow us to see the longer term trends.

It is well-known that Williams has always been a highly successful grand prix team. The 1980s were a bit of a rollercoaster. The team mixed hugely successful years with a few more disappointing years. Overall, the trend has been for the team to hover around 3rd place on average.

Then came the mid-1990s, when Williams were truly dominant. This was the period where Adrian Newey was on board. It is almost impossible for the five-year trend to get any higher, as the team strung together an incredible seven consecutive top-two finishes.

It is no secret that Williams have never dominated in this way ever since Adrian Newey left in 1997. But looking at the trend, Williams continued to average around 3rd place in the Constructors’ Championship — if anything, still slightly better than the pre-Adrian Newey years. But in the middle of the 2000s, it begins to change for the worse — dramatically.

In fact, if you look at the trendline, with no other knowledge I think you could actually guess when Sam Michael became technical director. In case you haven’t spotted it, I have added a subtle hint that pinpoints the year.

This could well be a harsh assessment. Sam Michael seems to be well respected among his colleagues at Williams. But from the outside, it has long perplexed me why there hasn’t been more of a question mark over Sam Michael’s role.

The team has made many changes in recent years. They have switched engine manufacturers from BMW to Cosworth via Toyota. They have brought on board hugely experienced drivers (Alexander Wurz, Rubens Barrichello) along with promising rookies (Nico Rosberg, Nico Hülkenberg). And there have been lots of changes behind the scenes with the operation of the business. None of these changes have done the trick.

Now, with Williams enduring their worst start to an F1 season since their very first one in 1978, it is crunch time. They need to face up to their issues properly.

We know the problem is not money. After all, the team keeps telling us they have no money worries whatsoever!

Currently the team languishes in 10th place in the Constructors’ Championship, behind Lotus, a team that is not yet two years old. Indeed, in China, Pastor Maldonado was beaten fair and square by Heikki Kovalainen in the Lotus.

Amazingly, this position is up from the situation after Malaysia, when the team was also behind Virgin in the Constructors’ Championship. Virgin is another team looking carefully at its technical set-up, as Nick Wirth’s CFD-only approach fails to prove its worth.

Here, just for fun, is the graph of Williams’s Constructors’ Championship positions with their current 10th place for 2011 added.

Many times my friends and I have discussed going to see one of Jarvis Cocker’s solo shows. But somehow it has never quite come together.

I’m keeping my fingers crossed that they will play in Scotland. Only three dates have been announced so far, all at pretty far-flung festivals.

Mind you, I’m not too sure about the way it is being marketed as being “all the original members of the band”. It might be the “classic” line-up that propelled the band to the height of its mid-1990s fame. But it is by no means the “original” line-up.

The band had several incarnations throughout the 1980s until success was reached. Jarvis Cocker is the only common element of them all, although the majority of the band was in place by the mid-1980s.

I was listening to some Pulp from this period the other day. It reminded me of this footage from a 1980s documentary about the Sheffield music scene. The footage is pretty grotty-looking, but it’s great to have this rather rare peek into the band’s early days. This is available on the ‘Hits’ DVD.

Clearly, they weren’t quite the finished product. Masses of loo roll is an interesting choice of stage decoration, and Jarvis Cocker himself does not yet have the commanding stage presence that made him famous.

The band themselves always warn against listening to their earlier material, preferring to think of the 1992 release of ‘OU’ as their year zero. However, I like all of their earlier albums.

Even though their earlier material rough around the edges, there is still a lot of great songwriting and the potential can be heard. Fascinating to listen to with the knowledge of how they turned out to become one of the biggest groups of the 1990s.

After a while, I began to get into BBC 6 Music. I was still interested in the speech elements of the station more than the music. Adam and Joe became a regular listen, but I also began to appreciate the music output more. Programmes like the Freak Zone and Jarvis Cocker’s Sunday Service simply would not exist on another station — which is why there was so much outrage when it was suggested that the station would be closed down.

But when considering alternative options in the event that 6 Music closed, I realised that the outlook was perhaps not as bad is it might seem. As a commercial alternative, Absolute Radio wouldn’t be a bad option.

Shedding Virgin Radio’s dad rock image

In the space of just two years, the new owners of what used to be Virgin Radio have given the station a completely new lease of life.

I would never have considered listening to Virgin Radio. Its playlist was limited, repetitive and fusty. It was wall-to-wall dad rock.

Looking back, the transition to the new-style Absolute was quite steady. But the day it ditched the Virgin brand was the day it could move on from that albatross and the Smashie and Nicey image. Today, I think it is easily the most interesting commercial radio station around.

More than music

The key selling point of Absolute Radio, as opposed to Virgin, is that it is now not just about music. Now it’s an “entertainment” station. When you tune in, you are more likely to hear a comedian than a dusty old Status Quo song. Its current presenters include people like Dave Gorman, Iain Lee, Frank Skinner and Richard Herring — all much better known for being funny than being fanatical about what Virgin always called “real music”.

It’s a template that has been successful at BBC 6 Music ever since it started. Its original breakfast presenter was Phill Jupitus, while other high-profile presenters have included Russell Brand, Craig Charles, Jon Holmes and… Richard Herring. And it’s difficult to escape the feeling that Absolute’s weekend morning programming has been heavily influenced by the success of Adam and Joe on 6 Music.

The really impressive thing about how Absolute have gone about it is the fact that Dave Gorman appears to have more influence over the music that is played on his programme than Adam and Joe ever did. As a whole, Absolute is more accessible than 6 Music, but it is a station that is unafraid to step out of the mainstream on occasion.

Determined to try different things

But gradually, Absolute is becoming something more than a commercial 6 Music-lite. Its deal to broadcast English Premier League football matches is a bold move to for a music station to make, particularly since Radio 5 Live and TalkSport are so well established in this area. Apparently it is the first time a music station has broadcast top flight football since Capital Gold brought Jonathan Pearce to the world 20 years ago.

Absolute have launched some interesting spin-off stations as well. In addition to Absolute Classic Rock, there is Absolute 80s and Absolute Radio 90s (that is a way to make me feel old — my decade is now for proper nostalgia!). There is also Absolute Radio Extra. The best thing is that the latter three are all available on DAB.

There was also Dabbl, an experimental station where users chose the content. It has closed down now, but it is nonetheless a sign that Absolute is determined to experiment with radio.

Doing new things with radio

The people behind Absolute Radio have a great website, One Golden Square, which takes you behind the scenes of Absolute Radio. The openness of the website is wonderful. It is a great insight into what makes them tick, and it’s all very encouraging.

Absolute are always at the cutting-edge, thinking about the future of radio and different ways to listen to it. That is no wonder — the traditional 1215 medium wave frequency is very poor quality for a music station, so it helps them to investigate alternative ways of broadcasting.

One Golden Square Labs outlines some of the really interesting things they are up to. There is some nifty iPod Nano integration. They are also pushing ahead with HTML5 delivery.

One Golden Square are also behind the wonderful Compare My Radio. This website is a heaven for radio and stats geeks — perfect for me.

It is a treasure trove of stats about radio output in the UK. You can see what tracks and artists are popular, search for artists to find out what stations play them, and even compare the output of two radio stations — with Venn diagrams and everything.

A lot of people turned to this website to learn about 6 Music. Many defended the station on the basis of statistics collected by Compare My Radio. You can see how 6 Music compares to Absolute Radio.

The website is a fascinating service that must take a bit of work to maintain. It’s great that a radio station can take a step back and fairly allow others to compare it with other radio stations.

All-in-all, you get the impression that the people behind Absolute Radio are seriously passionate about radio. As a bit of a radio fan myself, that is a big winner for me.

Music of 2009

A series of posts

1. My top twenty albums of 2009 — part one
2. My top ten albums of 2009

It is the end of the year. I like music. That can only mean one thing: a run-down of the music I have bought this year, arranged into vague order of how much I enjoyed them.

In this twentieth anniversary year of Warp Records, it has been a stonking year for the label in my view. After some pretty disappointing years, 2009 was the year they showed that there is life in the label yet.

This year I also reached further into the past, while continuing to buy contemporary releases. Old soundtracks and music inspired by the past are heavily featured in this list.

Here is part one of my list, spanning from number 20 to number 11.

Links are to Spotify where available.

20. Andrew Bird — Noble Beast

I would not normally have made this purchase. But I decided to experiment with asking for recommendations using Twitter. Noble Beast was the first suggestion I received, and I’m glad I followed it because it is a rather pleasant album. I particularly enjoyed ‘Not a Robot, But a Ghost’.

Original article about Noble Beast

19. Hudson Mohawke — Butter

I am not yet sure what I make of Butter. If the garish cover wasn’t enough to put you off, the music is in many ways equally garish. Yet there is something enticing about the sound of this album, which mixes out-there electronic sounds with the pop-funk sensibilities of OutKast. This track, ‘Rising 5‘, is available to download on the Warp Records website.

18. Jarvis Cocker — “Further Complications.”

This should have been a fine album by a national treasure. Certainly, Jarvis Cocker’s first solo album was decent enough. As it transpires, though, “Further Complications.” is merely an okay album with some strangely messy-sounding production. It does, however, have a few great moments. I particularly love the closing track, ‘You’re In My Eyes (Discosong)‘.

17. Squarepusher — Solo Electric Bass 1

While Squarepusher is best known for being an electronic music maverick, he has become an increasingly notable bass guitar player. At last, this other side of his musical talents has been showcased on a full CD, Solo Electric Bass 1. While it may be a bit too noodly and self-indulgent for some, and there is no doubt that it is a pretty dense listening experience, there are plenty of moments to enjoy and savour. Such as this piece, ‘seb-1.03′.

16. Harmonic 313 — When Machines Exceed Human Intelligence

Mark Pritchard transmogrified from his similar-sounding Harmonic 33 to Harmonic 313 with When Machines Exceed Human Intelligence. The projects’ two sounds are radically different, although approached from the same perspective: creating a sound that is heavily influenced by electronic music of the past. Harmonic 33 brought library music to life. Harmonic 313 turns to the dystopian 1980s, with a worry that artificial intelligence will one day become too intelligent and usurp the human race. Here is the closing track, ‘Quadrant 3′.

15. Clark — Totems Flare

I am still not sure that Clark is fulfilling the potential he promised with the 2001 release of Clarence Park, which I still think is his best album. However, with Totems Flare he has taken yet another step in the right direction. While earlier material was too heavily indebted to other artists, Clark has really begun to carve out his own sound. The major innovation in Totems Flare is the increased use of vocals, as demonstrated on my favourite track on the album, ‘Rainbow Voodoo’.

14. Belbury Poly — From an Ancient Star

Jim Jupp is the celebrated co-founder of the Ghost Box record label, which specialises in releasing a particular type of music (sometimes known as ‘hauntology’) which is heavily influenced by psychedelic and folk music of the 1960s and 1970s, library music, public information films, programmes for schools… with a dark twist. Although I prefer some of the other artists on Ghost Box, Jim Jupp’s Belbury Poly project is still one to keep an eye on. From an Ancient Star represents a progression in the Belbury Poly sound. This is ‘Adventures in a Miniature Landscape’.

13. Edward Williams — Life on Earth

Anyone who has an interest in vintage soundtracks or music for television will adore the soundtrack to Life on Earth, the seminal 1979 nature documentary series. It is beautiful and haunting, with a gentle and entrancing use of electronics. It was released this year after a series of coincidences, beginning with one of the 100 privately-pressed records being found in a charity shop. The quality of the recording is not great, meaning that you have to peer a bit to hear it. But this just adds to its charm.

12. Roj — The Transactional Dharma of Roj

Former Broadcast keyboardist Roj Stevens this year released his début solo album, a masterful foray into the mysterious. Roj has created a curious and slightly creepy album — just as you would expect from a Ghost Box release. Imagine eastern spiritual vibes being interrupted by imaginary transmissions from fictitious Soviet stations.

11. Jonny Trunk — Scrapbook

Jonny Trunk, of the eponymous record label that specialises in “music, nostalgia and sex”, this year released a collection of snippets of music that he has worked on in his spare time. Purposefully, it has not been carefully packaged. It is called Scrapbook for that reason. The tracks retain their working titles, and are sequenced in alphabetical order. But despite the apparently slapdash nature of the release, there is something magical and charming about this album. Just as you would expect from Jonny Trunk, it is equal parts nostalgia, humour and brilliance. One highlight that encapsulates this is ‘Hawks‘.

There was a magnetic attraction to the Cinderella story that was the life of Brawn GP. Until March, the existence of the former Honda team hung in the balance. A last-minute lifeline and some punchy Mercedes engines (which required the incredible generosity of McLaren) saved the day for the employees at Brackley.

The car turned out to be devastatingly quick. In its short life, the Brawn team achieved some juicy records. This made it, by many measures, the most successful new team there has ever been in F1. Today it secures a status as the only team ever to have a 100% championship-winning record.

The shortest-lived legendary team

Despite a lifespan of less than a year, Brawn will go down in legend. Its rapid success ensured that it had become a household name. And its livery — with the distinctive chartreuse swooshes highlighted by bold, black borders — will surely become as iconic as a JPS livery, a Marlboro livery or a Gulf livery.

People quickly became attached to the Brawn colours. Just look at how many of this year’s F1 books are decked out in a snot green that tries to replicate the fluorescence of the car itself. It is such a strong image.

A livery change was widely expected as soon as Brawn started to get more sponsors. But a livery change never happened. Despite the fact that most of Brawn’s sponsors over the 2009 season actually had red logos, thereby clashing awkwardly with the neon yellow, Brawn stuck with the original livery because it worked so well.

Mercedes to ignore Brawn heritage?

Maybe I am over-egging the pudding a little. But I genuinely think the sport has lost an icon. Today’s announcement that the Brawn team will be bought by Mercedes brings to an end this incredible story of the plucky underdogs who won against all odds.

It is yet another stage in the rollercoaster existence of the Brackley-based team whose history can be traced back to Tyrrell. In the past five years alone, the team has been owned by British American Tobacco, Honda and Brawn. The Mercedes era should finally bring some stability to this team.

In its press release today, Mercedes has included a mock-up of the sort of livery it presumably wants to run with next season. All trace of the Brawn heritage has apparently vanished.

Maybe I am just too romantic for my own good. But I would like to see the splashes of Brawn chartreuse remain, with the rest of the car remaining silver. After all, the current McLaren livery has “Rocket Red” in more or less the same places as Brawn’s chartreuse.

There is much talk about how the “return” Mercedes to F1 as a works team will mean a return of the legendary “Silver Arrows”. That’s funny, because I seem to remember everyone saying the same thing when McLaren switched to a silver livery in 1997. Maybe it doesn’t count any more.

McLaren’s colours: If not silver, what?

Speaking of McLaren’s silver livery, their press release today says that it will remain the same. Against expectations, McLaren have extended their engine deal with Mercedes to now last until 2015. But Daimler AG will be selling back the bit of McLaren that they own, and McLaren will become a Mercedes customer team rather than the pseudo-works team they had become.

As speculation increased over the past week or so, I began to wonder what colour scheme McLaren would adopt were they to part ways with Mercedes. Obviously that is a bit academic now, but it’s interesting to think about.

Nowadays most people think of McLaren as a silver (or, for the less charitable among us, grey) team. But it is probably more accurate to think of McLaren’s main colour as being red.

Red is the most prominent colour of the most evocative McLaren livery — the famous Marlboro scheme it ran in its 1980s heyday. Historically, McLaren ran with an orange livery.

The team describes the red colour that features in today’s livery as “Rocket Red”. It is not a scarlet or a Ferrari red. It is rather orangey, perhaps in a nod to the team’s history running in orange.

In recent years, McLaren have been known to run test cars in an orange livery from time to time. It would be really neat if McLaren toned down the “Rocket Red” a notch or two, and made its colour orange once again.

Or am I just being too romantic again? Maybe not. It is a good sign that McLaren Automotive use orange prominently in their marketing.

Music of 2008

A series of posts

1. Music of 2008: #25–#11
2. Music of 2008: Top ten

10. Stereolab — Chemical Chords

This is more or less what you would expect from Stereolab. Fantastically jaunty and slightly idiosyncratic pop songs. This is hardly Stereolab’s best album (and I say that as someone who has only heard three of them), but it is a joy nonetheless.

9. David Byrne and Brian Eno — Everything That Happens Will Happen Today

This pair produced one of the most important and experimental albums of recent decades. But My Life in the Bush of Ghosts was over 25 years ago, and this was the first time they had worked together since. There was no point in expecting the same again, and what we have here is an album of fairly conventional — though diverse — pop songs. It seems as though Brian Eno’s mission in life just now is to make good songs (which have good lyrics). There are some great songs here (I particularly like ‘I Feel My Stuff’), but it ain’t a world changer.

8. Neon Neon — Stainless Style

Boom Bip and Gruff Rhys built on their earlier collaborations to create this most unlikely of concept albums. It is based on the life of John DeLorean, creator of the DeLorean car which was clad in stainless steel. The music revels in the 1980s concept, and the slightly off-the-wall idea behind the album belies a clear genuine love of indulgent 1980s synth-pop. A great listen.

7. Various artists — BBC Radiophonic Workshop: A Retrospective

A great look back at the legacy of the BBC Radiophonic Workshop, the hugely influential electronic music department. This 2CD set compiles music from the entire 40 year life of the Workshop. The first CD is absolutely charming, and my jaw drops thinking about how much effort was put into these early electronic masterpieces. The later music is not so special — ironically as the technology got better it only opened up a world of identikit sounds. This is not enough to spoil the CD as a whole though.

In-depth review of BBC Radiophonic Workshop: A Restrospective

6. The Advisory Circle — Other Channels

I just adore this album, which faithfully recreates vintage electronic music of the sort we were all exposed to in our youth. Be transported to two or three decades back. Television idents, programmes for schools, public information films, library music… dare I say the Radiophonic Workshop? But all with more than a smidgen of creepiness and uneasiness built in. It’s Boards of Canada+. If that’s your sort of thing this really is an essential purchase. Don’t listen to it at night though.

5. John Baker — The John Baker Tapes Volume 1 and 2

John Baker was one of the most important members of the BBC Radiophonic Workshop. This pair of CDs unearthed a load of hidden gems from his career that may otherwise have ended up in a skip. Volume 1 documents his work at the BBC, with lots of great bits and pieces like news jingles, theme tunes and little bits for educational programmes (I love the song about not being taken in by slick salesmen). Volume 2 focuses on his commercial work and private recordings of his jazz piano playing. There are notes on each of the tracks, an in-depth biography written by his brother, Richard Anthony Baker, and a recording of the Radio 5 Live obituary broadcast also by Richard Anthony Baker.

The CDs serve not only as an important document of John Baker’s work, or even a collection of important electronic music — but almost as a time capsule of 1960s and 1970s life in Britain. Tracks titles like ‘Decimal Currency’, ‘Building the Bomb’ and ‘Giro Advert’ serve to make the collection an important document of social history too.

In-depth review of The John Baker Tapes Volumes 1 and 2

4. Squarepusher — Just A Souvenir

Tom Jenkinson expanded on the more live sound he has developed since Ultravisitor by producing this concept album inspired by a fantasy futuristic band from his daydreams. It’s a good device that allows him to become quite indulgent with his use of experimental electronic techniques, while also exhibiting his über bass and drumming skills. At the same time there are gloriously poppy songs like the irresistible ‘A Real Woman’.

In-depth review of Just A Souvenir

3. The Fiery Furnaces — Remember

The Fiery Furnaces don’t know how to do anything the conventional way, and they even found a way to completely change the way you can think of a live album. The recordings are pieced together from a variety of different concerts. And it’s not just different songs from different recordings. Different recordings of the same song are spliced together, mercilessly interrupting itself in the middle, complete with jarring changes in sound quality. It is not as annoying as you might think. Along with the fact that the live versions of songs are often radically different to the original studio recording, this is sure not to be a wasted purchase.

In-depth review of Remember

2. Autechre — Quaristice and Quaristice (Versions)

Autechre seldom fail to surprise. The often imitated but never bettered duo specialise in altering your perception of what music can be. With Quaristice they pushed on with their particular brand of pathbreaking electronic music. But it lacks the coherence of previous albums, jumping about in style and mood from track to track while previous albums had a well defined sound of their own. Instead of the eight or nine long tracks, Quaristice has 20 tracks more typically three or four minutes long. I originally felt that it was a weak album, but now whenever I listen to it I find myself completely loving it. Even a disappointing Autechre album is head and shoulders above what anyone else produces.

Quaristice (Versions), the extra CD that came with the limited edition version, is shaped more like a traditional Autechre album, but the music itself is more of the same — literally. Longer cuts give these tracks more room to breathe, making it a perfectly pleasurable listen, even if it did begin to feel like you were paying for the same music several times over (especially if you bought Quaristice.Quadrange.ep.ae, which I reviewed in the earlier post).

In-depth review of Quaristice

1. Portishead — Third

Hands up who expected this album to be crap? An 11 year gestation period did not bode well. But the end result is in fact excellent. Actually, I could hardly believe what a good job Portishead had done. Clearly having made a conscious decision to avoid the Portishead trademarks which turned into trip hop clichés, the band have set themselves a subtly new direction and have pulled it off magnificently. There is still that slightly dark and black-and-white sound. But now there is a rather more live feel to the music, albeit with more of an emphasis on jaggy and sometimes slightly unsettling electronic sounds. And the songs are absolutely top-notch. I hope it isn’t 11 years until the next Portishead album.

The premise of Just a Souvenir is most intriguing. “This album started as a daydream about watching a crazy, beautiful rock band play an ultra-gig,” says Tom Jenkinson on his website. He goes on to describe the mad japes that the band got up to in his daydream, setting out a vision of an eccentric, futuristic, science fiction-inspired rock band. Squarepusher then saw it as his duty to recreate his daydream in album form.

I can’t help but wonder if the story is just a bit of an excuse, explaining the slightly tongue-in-cheek nature of some of the tracks. Just a few minutes into the album the listener is asked to “re-spect the coat… HANGER” by a cod 1980s vocoderised singer (a giant coathanger being the fantasy band’s main prop). This is not a criticism. I don’t like music to take itself far too seriously, and Squarepusher remains on the playful side of things for most of this album which makes it a much more pleasurable listen.

The premise of the album also gives Squarepusher maximum opportunity to pursue his crazy sonic experiments. Then there is the fact that the band is apparently supposed to be a prog rock band. This mixture — a focus on technology and quasi-prog stylings — makes Just a Souvenir sound like the sort of album most bands in the 1980s would have dreamt of making. It’s the music that Tomorrow’s World promised.

But perhaps the most unique-sounding tracks are the ones which don’t have the pomp of the prog rock approach. The sonic experimentation is most evident on tracks like ‘Open Society’, ‘Fluxgate’ which presumably depict the classical guitar player who can travel backwards in time, taking the surrounding sounds with him to create “imploded sonic pin cushions”.

Stylistically these tracks are similar to some tracks that Squarepusher has been doing for a few years, beginning with ‘Itti-Fack’ from the Square Window EP. These tracks are brief and sound as though the audio has been recorded in another dimension. I can’t think of anyone else who makes music that sounds like this. It’s almost as though Squarepusher has created a new genre which, for the time being, is specifically his domain.

Elsewhere, Squarepusher’s sonic palette has been expanded with the surprising inclusion of some all-out rock songs. Although Tom Jenkinson is well-known for being a highly accomplished bass guitar player, his playing is typically of the jazz fusion variety, or perhaps set to some of his madcap Amen break-fuelled drill and bass, IDM or suchlike. I suppose since now that IDM is deeply unfashionable, it is sensible of him to move away from that sort of thing.

But it is nonetheless surprising that he has gone so far down the rock route. While tracks like ‘Delta-V’ are by no means like conventional rock music, the almost metal-like style of these tracks undoubtedly moves Squarepusher into brand new territory. Incidentally, what an enjoyable listen ‘Delta-V’ is.

What strikes one listening to this album is just how much it does sound like a full band. It has long been known that Tom Jenkinson is a truly multi-talented fellow, being a particularly accomplished bass guitar player while also impressing on guitars and drums, all while mixing it with electronic music’s oligarchy at Warp Records.

For his past few albums, Squarepusher has been increasing the eclecticism of his output, beginning with the amazing Ultravisitor (still my favourite Squarepusher album) which gave us a full taste of all of his talents from drum and bass stormers to gentile Spanish guitar performances, mixing studio-based and live performances to create a truly unique, odd-sounding album that can’t help but leave you impressed.

But in Just a Souvenir the tone doesn’t jump around uncomfortably as it sometimes does in Ultravisitor. Now all of Tom Jenkinson’s many talents are performing to such a high level, gelling so well that you would never guess that it wasn’t actually a band. What an achievement.

• Clips from the album (you will need to press play every 30 seconds):
  
• Just a Souvenir website
• Squarepusher website
• Warp Records website