Disobedient digits

I have heard, or perhaps read, that if you cannot see your feet and a third party touches one of your toes, you will struggle to correctly identify the toe being poked.  I think most people are fine with the big toe, but thereafter are only accurate to ±1 toe.

I can believe this of toes, they are a long way from the seat of power (especially for we taller folk) and are mostly imprisoned against their will in shoes or sneakers.  Rarely are they allowed to operate independently of their fellows.  Such small acts of rebellion against central authority are only to be expected.

Fingers, on the other hand (and indeed the first hand) are molly-coddled their whole lives.  Only being gaoled in gloves or mittens to protect them from being nipped at by Jack Frost.  They have been given individual names and roles and are often invited to star in their own right.  As an occasional, if very bad, pianist my fingers have been given a lot of responsibility.  Indeed, often when seated at the old joanna, they seem to know where to go even when management hasn’t got the foggiest idea and is in a state of panic while the notes seem to dance across the staves.  I’ll admit that the ring finger can be a little shy, and doesn’t like to go anywhere without at least one of its two companions for company but, in general, I thought I could trust my fingers to follow basic instructions.

However, my attempts to master the guitar have made all to clear the limitations on my control of my own hands, especially the left one.  Even when I am staring right at them, the fingers of left hand still fail to follow even basic instructions.  When moving from G to D, I want to pivot on my ring finger: it, alone among its colleagues must not move and yet more than half the time it wanders off across the neck on some unknown mission of its own.  When playing scales (oh yes, I am teacher’s pet), I want all my fingers to stay close to the strings and yet they wander off like children on a school trip: worse actually, as they do so even when directly supervised.

I am far from convinced that I possess free will, but am increasingly sure that my fingers do.

Still, despite this mutiny by my own phalanges, I am making slow progress with the guitar.  At a gig last Sunday, while watching Jonny Phillips play I could recognise several chords and even more standard chord shapes.  Some of these, given a decent run-up, I can actually play: though there can be quite a long wait between chords (and a fair few extraneous sounds produced): it would be as well to bring a book to any gig at which I’m performing.  I can even speak somewhat knowledgeably about inversions and root notes, having been shamed into re-reading The AB Guide to Music Theory Part I following my stumbling attempts to identify broken chords at a lesson.  I think my guitar teacher now finds my attempts to create new chords from first principles (one note and string at a time, while visualising a piano) somewhat amusing and I strongly suspect I am his only student obsessive enough to try this.

Later at the same gig, there came a distant ray of hope.  The frankly amazing Marty O’Reilly made reference to ten years of his youth (mis-)spent in a shed with his guitar, smoking pot (him, not the guitar) as the source of his condign mastery of the instrument.  I don’t have a shed and am not entirely sure psychoactive substances will be a help – let’s face it, I already fear that my fingers are out to get me – but I’m only two months in to the process, so there remains the very real possibility for improvement by some point in my sixties.  In the meantime I thoroughly recommend going to see Jonny and Marty – the latter came perilously close to bringing a tear to my eye (something which music almost never does) – and imagine that one day (probably roughly cotemporaneous with the heat death of the universe) I might sound like that!

Right Thoughts, Right Words, …

Fans of Franz Ferdinand, the populat beat combo rather than the assassinated Austrian Archduke, will know the ellipsis covers Right Action – the relevance of which may become somewhat less occluded as the text of this post unfurls.

I am now almost two months into my career as a guitarist.  OK, career may be over-playing my hand (and current level of mastery) so let’s just say “since I started learning to play” instead.  It is proving enormous fun and the fingers on my left hand are callousing up nicely and I seem to be growing use to the loss of feeling (or at least I seem to be dropping stuff less often).  Occasionally, brief snatches of something which might almost pass for music are emerging from my guitar: though these are soon smothered beneath a cacophany of notes (or approximations thereto) that even the most extreme proponents of atonal music would have rejected at an early stage of composition.  Maybe it is time to start the Third Vienna School – and, to the surprise of many, do it in Southampton.

As I slowly come to grips with my latest self-improvement project (it remains unclear who or what I may be improving myself for), I am discovering the very wide range of jargon that surrounds the guitar: jargon which seems to have been plundered, indiscriminately from many walks of life without any thought to an over-arching theme.

We might start with the size of the instrument.  Some guitars are dreadnoughts, but there is no battleship, cruiser or minesweeper.  No, as guitars grow smaller they are named after model railway gauges and so an OO and O make an appearance (though on the wron gorder, size-wise).  There is no N-gauge, but smaller guitars are named for the parlour in a nod to historic reception rooms.  Somewhere in this strange pantheon there also lies the jumbo and the OM (though how the stalwarts of La Ligue came to be associated with the instrument is anyone’s guess).

The fingers of the left hand are numbered, though for the guitarist the thumb doesn’t count, so the numbers are one smaller than for the pianist.  The finger of the right hand (where the thumb does count, but the little finger is discarded) are labelled using the first letter of the Spanish name for the digit in question.  And why not?

The parts of the instrument are also named in an eccentric manner, ripe for double-entendres (even without venturing into the sound hole).  The neck and body seem sensible enough, but the bridge holds the saddle and between the neck and head lies the nut.  For the avoidance of doubt, neither saddle nor nut look anything like any of the real world objects for which they might be named. The top string is, in normal (gravitional potential enery based) parlance at the bottom and vice versa: though this does make sense if one considers the pitch rather than position (or stands on one’s head).  The clearance of the strings over the fingerboard (which lies atop the neck) and frets is called “the action”.  My ancient instrument has a very high action.  This means that when attempting to hold the strings down near the nut (required for all my current playing), a prodigious amount of force is necessary: the whites of my knuckles have rarely been on such public display!  This has been wearing out my hand and shredding my finger tips: it has also rendered barre chords (where the index finger holds all the strings down at the same time) a distant dream.

To attempt to resolve this issue, and lower its action, I have undertaken surgery on my guitar – and in particular on its nut.  This was necessary as my guitar lacks an adjustable truss rod – the metal spine (or cervical portion thereof) that runs through the neck.  There were a number of possibilities for modifying the nut, but lacking a specialist set of nut files (yes these really do exist, and they are not cheap) I removed the nut all together and sanded a few millimetres of its substance from its bottom.  I can tell you that the unit is question was surprisingly soft and this took but a moment.  As you might imagine, given the ever-present nature of my inner child, I found this all terribly amusing.  The nut has now been reinstalled and the guitar is almost ready to go.  The only complication arising from the surgery was that the top string snapped at the bridge end (not, for the avoidance of doubt, in South Wales).  So, I now need to extend the surgery to cover re-stringing.  In theory this should be straightforward: I have mastered removal of the bridge pin but have not yet plucked (pun fully intended) up the courage to attempt the re-stringing as the instructions seem surprisingly complicated.  Maybe later today I shall screw my courage to the sticking place and see how it goes.

Having obtained the right action for my guitar, all I now need to deal with is the unexpected degree of previously unused flexibility required by my left hand and the fact that when playing my eyes need to simultaneously monitor the actions of my left and right hands and read the music.  Having only two eyes, that tend to track together, this is proving a challenge which is so far being resolved by memorising the music and moving my head from side-to-side as though watching a very small tennis match.  I’m hoping that better proprioception will come in time, as watching better guitarists they seem capable of playing while their hands go entirely unobserved.  Mine cannot, at this early stage, by trusted unsupervised: frankly, they seem to need to be micro-managed.  To be honest, I think something went very wrong at the recruitment stage – heads will roll in HR!


This blog may have given the impression that I am some vague sort of cove who just drifts through life like snow in a stiff breeze.  Yes, my attempts to empty a small storage unit may be close to reaching 3.5 years (though some progress has recently been made).  OK, I may have taken 6 months to fix my bookshelves to the wall to enable them to carry the books from the aforementioned storage unit without the risk of their owner being crushed beneath his library (though, what a way to go!).  I’ll admit it took more than 21 years to organise a guitar lesson.  However, occasionally my cup of motiviation is filled to overflowing with dedication and purpose.

This last week has seen two examples of my commitment to a project going well beyond the point of sanity or common sense.

The first relates to my guitar.  In an attempt to make up for the rather dilatory start to my life as a guitarist, I have been practising regularly.  If I’m at home, I normally manage to put in a few minutes of practise every day.  Only a very few minutes each time  (around five) as the fingertips on my left hand can only take so much punishment.  In an attempt to toughen them up, after Christmas I moved to practising twice a day: morning and afternoon.  This is having the desired effect and my fingertips are hardening and the dead skin is starting to peel as the necessary callouses form.

The upshot of this process was that at my guitar lesson last week, I was able to spend a much larger portion of the hour actually playing the instrument and much less time talking about it.  This was wonderful and there were very brief sonic glimpses of something Spanish or Latin American emerging from the instrument (though they are still swamped by the dross).  I even managed to produce an F successfully for the first time!  This may not sound like much, but my index finger has to hold down two strings (on the first fret) at the same time.  Previously the squidginess of my finger had rendered this impossible.  It’s always nice to make a break through while your teacher is watching. In fact, guitar-playing is becoming much less of a white-knuckle experience all round and I no longer give the impression that I am trying to throttle the life out of my guitar.

This may have led me to get a little carried away, so by the end of the lesson the tops of fingers 1, 2 and 3 were completely shredded.  My attempt to practise the following day had to be aborted very quickly and I needed another two days of rest (while I was over the Irish Sea) before I next braved the guitar: even typing on a laptop keyboard was somewhat of a challenge.  Still, today my fingers were up to a full session on the strings and producing an F is almost second nature.

My other main physical project is on the bar: an attempt to master the muscle-up.  Yesterday, I was attempting the tricky transition from being under the bar to being over it and pushing myself up.  This is starting to go really quite well and I can gain a lot more height over the bar with relative ease (still aided by a thickish rubber band), though synchronising the switch of hand position and the movement from pulling to pushing up is more tricky: but I did manage it a few times.  Again, my determination rather overwhelmed any sense and after twenty minutes or so attempting the maneouvre I noticed my right hand seemed a little damp.  On closer examination I discovered it was bleeding (from an unknown source) and it had a sizeable blood blister where my little finger joins onto the hand.  My left hand had another two blood blisters: also where the fingers join onto the palm.  The left hand blisters are already mostly healed, but the right hand one is still pretty impressive looking and rather painful.  It would seem my life of desk-jockey, clean-fingernailed ease has not prepared my hands for this sort of high-pressured, frictional punishment.  Still, no can doubt that I am committed to this project.

I think the problem in both cases is that (a) I don’t like to be defeated (or so it would seem) and (b) it feels so good when the thing actually works.  I also suspect my brain is quite good at ignoring pain signals from the rest of my body when I’m concentrating and it’s only when I stop (or am forced to) that it deigns to notice the damage inflicted.

Actually, this isn’t the first time I’ve found myself to be bleeding recently.  Not even the second – which was a couple of weeks back when I mounted the bike rather ineptly and scraped my leg on the rear mud-guard.  I thought nothing of it at the time and cycled off to my appointment.  On arrival, I was asked if I knew my leg was covered in blood: to which my answer was, “No”.  A few weeks earlier, I had just given blood (deliberately) and was tucking into my celebratory lemon squash and chocoloate biscuit (or several) when I noticed my arm was wet.  My first thought was that there must be a drip from the ceiling, but after a while I moved my attention away from my book and macaroon and noticed that I was coagulating rather slower than normal and that my arm and (white) top were covered in blood (mine).  This was quickly rectified by the NBT staff, to be honest I think the flow has staunched itself, but it did make me wonder if, were I suitably distracted, I could bleed-out without noticing.  After three such incidents now, I am beginning to suspect that the answer is “Yes”.

So, if you spot the author out-and-about and notice he is bleeding, please let him know as he probably won’t have noticed.

The race is not to the swift

The alternative title (or one of them) was uncomfortably numb.  Isn’t that always the case? The tricky choice between Ecclesiastes and Pink Floyd.

I like to think I am leading the tortoise to become over-confident and fall into the same trap that befell the hare.  Others might say that I have turned procrastination into a lifestyle.  Nevertheless, I do (usually) get there eventually.

For example, in a post from the archive (Lucky Numbers for any completists) I mentioned having seen a young pianist called Julien Cohen and suggested I would pay to hear him play.  Well, back in October I made good on this threat!  He was once again playing in Cambridge and I snuck away from the world of work for a brief interlude to hear him perform at West Road.  My faith in the chap was amply rewarded and while I was in Cambridge I also managed to take in a chunk of the Film Festival.  Paying one’s blog-based pseudo-debts seems to lead to good things (although I’ll admit I’m extrapolating from an anecdotal sample of one, which is not good form).

Equally in this blog I have made pie-crust promises to make greater use of my car and cease its long-running neglect.  On this front I did rather less well, so earlier in the year I passed the car on to a better home where it receives regular exercise.  No longer does it languish a kilometre away with its battery slowly draining, but is now kept within easy spitting distance of its owner’s home (though I trust she is not spitting at it).  I realise this does sound rather like the stories people tell children that a much loved pet has “gone to live on a farm”, but this really did happen – I am not just trying to spare your feelings.

However, the longest running unfinished business in my life (if we ignore the whole lack of a partner or offspring thing) was the guitar.  I was bought an acoustic guitar by a grateful team back in 1995: I think they were pleased to have worked with me rather than that this would imminently no longer be the case (and I’d like to keep that illusion, if you don’t mind).  The guitar is now old enough to be served liquor in any bar in the US of A and so it was becoming embarrassing that I still couldn’t play it.  I decided to do something about it and leapt into action.

Time passed…

More time passed…

And then, after a period of mere months (shorter than calendar months), this very morn I had my first guitar lesson!  OK, not technically my first, Mr Owen (my then English teacher) did provide some tuition back in the late 1970s, before he “went to Gravesend” (not a euphemism).  However, I think we can safely assume that any knowledge imparted at that time has been well and truly lost beyond any hope of recall (though I am willing to munch my way through a madeleine, or several, if people think it would help).

I gave my guitar teacher a somewhat vague brief of some long term goals from my tuition: basically Jake Thackeray, Bach harpsichord transcriptions or Latin American classical guitar.  Neverthless he was not put-off and so I spent the latter part of this morning learning the basic chords and finger picking for Lah-di-Dah.  I am also having to come to grips with tablature which I’m pretty sure did not trouble my pre-teen head back in the seventies.  Still, I think an auspicious start was made: I may even have the merest morsel of natural talent.

The primary takeaway from this morning’s lesson, though, was that the finger tips on my left hand now exist in a weird superposition (I’m assuming classical rather than quantum) of numbness and exquisite pain.  They are going to have toughen up in the coming days if I am to fit in some practise before my next lesson and practoce is needed.  The next lesson has been booked a mere handful of days hence: self-discipline is all well and good but it does work better with a looming external examination.

Surely, tt can only be a matter of time – and mastery of the Yorkshire accent – before I can start my new career as Southampton’s premier Jake Thackeray tribute act.  I’m assuming “Fake Thackeray” has already been taken so I shall spend some of the time while I wait for feeling to return to my distal phalanges coming up with a name for the act.

On again! On again!


Sadly, GofaDM is not making a brave new move into solving your plumbing issues, though, I do like to think of myself as a rather good theoretical plumber: I just draw the line at getting my hands dirty and actually engaging with the mundane reality of pipes, olives and washers.

I have a tendency to either try and fit far too much into my life or to while away many an hour without any apparent achievement.  Sometimes, I seem to manage to do both at once: which is simultaneously impressive, logically impossible and somewhat frustrating.

Last Saturday was definitely one of the ‘stuff-it-all-in’ kinds of day.  By the end of it, I was surprised that what remains of my grey matter wasn’t oozing out of my ears given the rather excessive amount of stimulation and input I had forced into it.

I first headed into town, as Southwest Trains were once again offering a £15 return to the capital, and Saturday was one of the very few days this quarter when journeying by train to London would not be viewed as rather a palaver by a polar explorer.  Network Rail seem determined to keep those of us lying south-west of Basingstoke away from the City: unless we are willing to devote many hours to the voyage, enjoy bus travel and don’t want to stay out late (or are willing to stay out until the following morning).  My primary objective was to visit a circus (so no great surprise there), but as it was a rare opportunity to access the heady delights of London I managed to crowbar in a couple of gallery visits first.

My first was looking at Painting the Modern Garden at The Royal Academy.  This was very good, if rather busy, but had almost too many paintings for my poor brain to take in.  I did discover that there seems to have been some degree of fashion in blooms – or at least the painting thereof – and that I much prefer the Impressionists’ take on the dahlia than I do that offered by modern gardeners.  Several of the gardens I would like to decamp to right now, but I think my favourite work was a painting of Gertrude Jekyll’s boots.  I remain ever the contrarian!

My second gallery was at the Barbican looking at the work of Charles and Ray Eames.  As you might imagine, there were a fair few chairs on offer – but their oeuvre was much wider than I’d realised.  The exhibition included a splendid film – of the type one used to see through the arched window in the Play School of my youth – showing the making of a fibreglass chair.   However, my favourite take-away was not the film, nor even the chair but one of the three colours in which it was first offered.  How have we forgotten greige?  Surely, the finest name for a colour ever created!  I want my flat repainted and carpeted in greige (which I am pronouncing to rhyme with beige) when next this is needed.  I am determined to restore it to the mainstream!  I want all GofaDM readers to start using it: force it into conversation, email or tweet if you must.

I was ostensibly at the Barbican to see the Australian circus company, Circa (the Eames were just an amuse bouche).  Their current work is called Il Ritorno and was of indescribable (by me at least) brilliance.  The physical work was, in many ways, of a nature and unshowy difficulty I’d never seen before and whilst not narrative delivered a very strong emotional heft.  Not only that, but they have comprehensively outdone me when it comes to juxtaposition.  The amazing and moving physical feats shared the stage with a harpsichord.  Not just a harpsichord, but a harp, cello and violin and their players further augmented by a tenor and a mezzo.  I literally did not know where to look much of the time: almost all my cultural interests on stage at once with circus, theatre and music seamlessly melded.  I fear I left rather shell-shocked and with the need to up my game on all fronts!

Even at that stage, the day was not yet empty of delights.  I returned to Southampton and spent the evening with three stunning guitarists at the Art House café.  I even learnt a little guitar technique from Clive Carroll: though by the time I’m ready to put it into use I fear the lesson may have been lost.

It was a great day, but frankly far more experience than my ageing brain can safely absorb in a twelve hour period.  Were I a computer, I think some sort of overflow error would have been in order.  Luckily, as a biological computer, at no stage did I need to dump my stack and so avoided embarrassment (well, any more than is usually occasioned by my excursions into the wider world).

Stopping and plucking

It would be embarrassing to admit how long it took me to settle on the title.  For a while I was going to quote Milan Kundera and go with “the idiocy of guitar music is eternal” but as will become clear I am not really in accord (a-chord?) with this sentiment.  More importantly, it seemed a pity not to allude to the rhyming potential of plucking – and with this re-casting of a work by Mark Ravenhill I can squeeze two terms relating to stringed instruments into a three word title (a pleasing economy of form for the lapsed mathematician).

It seems to have been a while since GofaDM covered music, so I thought we might have a gig report.  Anyone know if the NME still exists?  If so, are they hiring?  On second thoughts, I suspect any job might involve rather a lot of late nights and I am in serious need of my beauty sleep: if I look like this (please see the updated photo of the author plastered across this blog, which I think demonstrates once again his inability to take a selfie) when relatively well rested, I hardly dare think of the consequences to my already ravaged visage should I be further deprived of sore labour’s bath.

On Saturday evening, I once again toddled over to the Arthouse Cafe to sample their musical wares.  First on the bill was Willowen – of which I had previously seen only a third – at full strength, i.e. three people and, not as Google tried to convince me, one rugby player (though the overall rest mass may have been similar).  Their brand of quirky indie folk (their description, not mine) was great fun and so another CD has been added to my collection.  However, on first sight they did look as though one person from each of three different bands had arrived on stage together following some sort of booking error: their music, despite the trio having been separated by geography (I think other separations are possible, or at least not directly ruled out by the Laws of Physics) for six months, proved that they did, in fact, belong Cerberus-like to the same musical body.

Whilst Willowen‘s performance did involve a range of stringed instruments, they were all played using techniques that I had previously observed.  Frankly, I thought I’d seen every possible option but the second act proved me wrong.  Kenta Hayashi does play the guitar in the normal way, and with the aid of a whole heap of looping kit can accompany himself on the guitar and with percussive and vocal effects.  However, he also played it in a whole new mode – laid flat across his lap and striking the strings with the side of his fingers.  I suppose this is a little like col legno in the classical canon, but without the bow (and so the legno).  I wondered if it might relate to a typical mode of play for a Japanese stringed instrument, but my research has drawn a blank – so perhaps it’s original?  It certainly helped to make for a very interesting and entertaining set.  Another curious insight from the evening was that sung Japanese sounds far less alien that I would have expected, though I’ll admit my sample size remains quite small.

Talking of looping, performing as a one-man-band is a lot more straightforward than in days of yore.  You can set yourself up with just a single instrument and a bit of electronic kit, though I fear the battery pack could be a bit of a killer out on the road, and still have a huge musical and sonic repertoire at your disposal.  I am constantly amazed at the range of sounds and musical styles that can be produced with the humble guitar.  It can act as a itself and as a decent substitute for a harpsichord and a cajón; the strings can be plucked, strummed, struck or bowed (and no doubt more besides).   Add in the player’s voice and a little beat-boxing ability and you have a fair chunk of an orchestra available while retaining the option of using public transport with relative ease.

All of which suggests that I really should be getting to grips with my own guitar, which I have had for twenty years but have barely played (except for brief and sporadic bursts of rarely repeated enthusiasm).  I had been put off by tuning – but this can now be aided with a simple app, or done for you by a robot (amazing, but true – though it doesn’t look much like a traditional sic-fi robot).  I have also been put off by steel strings, which tear your fingertips to shreds – but have now seen very good, professional guitarists (Eyes Like the Sky, a previous Arthouse guitar discovery, being a splendid example) using nylon strings.  All my excuses thus fled, I suppose you will be expecting some sort of guitar-based musical performance in an upcoming post.  Fair enough, I suppose, but it might be timely to remind all readers that patience is a virtue (though, disappointingly, not one of the seven deadly virtues).

Never judge a guitarist by his fingers

On Wednesday evening, I once again found myself at the Art House Cafe listening to some (relatively) local musicians of improbably high quality.  As the title hints, some of this music involved guitars – of the acoustic variety.

Once upon a time, I could (sort of) play the guitar – taught by my then English teacher Mr Owen (before he fled to Gravesend).  Even at my peak, I was only strumming basic chords in the most plain vanilla manner possible – though I could use a transposition clock!  I actually own an acoustic guitar and fully intend to re-learn how to play it (however, this intent has been “active” for more than two decades now – so readers would be advised not to hold their breath).  As a result, I have a very modest understanding of what a guitar can do and how tricky it can be to play.

The gig involved a support act (guitarist 1) and the headline act (guitarist 2 + drummer).  Support was provided by Alex Bowron who had very unpromising fingers (in my, clearly erroneous view) – rather short and chunky and almost entirely lacking in nails (i.e. much shorter even than mine).  Despite this apparent handicap, he could do things with his guitar that I have never knowingly heard before – and which despite being able to see both his hands very clearly, I have no idea how he achieved.  He also made use of two capos (capi?) – which seem to have come a long way since my time with Mr Owen – to produce some glorious music.

The headliners were Will McNicol and Luke Selby.  Will had fingers which seemed much more compatible with playing the guitar – longish, slender digits with enormous, plectrum shaped nails on his plucking/strumming hand.  These nails clearly required a fairly serious maintenance regime – I assume he has to wear a single glove much of the time to protect them (or he may just be less of a klutz than I am).  He was (if possible) an even more incredible guitar player than Alex and also produced sonic effects I have never heard before (including an unexpected use of a business card and singing into his guitar – where the trick is not to inhale).  Luke was a drummer – and seemed very good at it, but given my previously mentioned lack of rhythm I may be overly easily impressed by drummers.  His drum kit included a foot cabasa – an instrument new to me.  Web investigation suggests that whilst it won’t be everyone’s cup of tea, it does offer “a unique new voice for the feet” – which I can think we can all agree is something the world has been crying out for these many years!

They played a very wide range of music, covering inspiration from at least four continents – and for most of the gig wore only one shoe between them (I will leave an air of mystery around which of the four feet  – 1.22m – remained shod).  My musical education as a child was, in many ways, rather deficient – largely due to my lack of interest the subject (though I was very good at music-stand repair).  As a consequence, a surprisingly large amount of my music awareness came from Radio 4 comedy shows of the 1970s.  So, I do have an odd love of both the blues and madrigals as a result of some of the Willy Rushton era rounds of ISIHAC.  Much as I love and admire Colin Cell, hearing the boys playing Mississippi Blues including proper blues “licks” was a wonderful thing and almost brought a tear to my eye (despite a complete lack of vocals: not even a single “I woke up this morning”).

So, once again my musical horizons have been expanded for less than a tenner – and another album has been added to my collection (Hitchhiker by Will and Luke).  Living in Southampton really does have some excellent compensations.