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Turkish soldiers at Isparta Mountain Commando school at Isparta, training in Mine Detection, Mountain Operations, Anti-Ambush Drills, Fitness and Night Operations – Once the training is complete they will be deploying to Southern Anatolia to help on anti-terrorist operations
Army vs. Abilene Christian University at Michie Stadium in West Point, New York Oct. 3, 2020. (U.S. Army photo by Ellington Ward)
U.S. Army Spc. Kristofer Encinas, a sniper with the 1st Squadron, 91st Cavalry Regiment packs his backpack in preparation for a sniper stalk event as part of the 2019 European Best Sniper Team Competition at the Grafenwoehr Training Area, Germany, July 21, 2019. The European Best Sniper Team Competition is a U.S. Army Europe-directed/ 7th Army Training Command (7ATC) hosted contest of skill that includes 17 participating NATO allies and partner nations, July 20- 26. The European Best Sniper Team Competition is designed to improve professionalism and enhance esprit de corps. (U.S. Army photo by Sgt. Jeremiah Woods)
Polish Army Paratroopers from the 6 Brygada Powietrznodesantowa im. gen. bryg. Stanisława Sosabowskiego.
PUMA-2014: STRZELANIA
Uzupełniamy obraz ćwiczeń Puma-2014 o ostatni element czyli strzelania amunicja bojową w dzień i w nocy oraz saperskie wysadzanie.
The Journey so far.
New Model Army played their first gig in Bradford on October 23rd 1980. Its founding members were Justin Sullivan, Stuart Morrow and Phil Tompkins. The threesome had already been together for a couple of years in a number of Bradford bands with other musicians and singers but in the Autumn of 1980, they decided to form a stripped-down three-piece, their music drawing on a wide collection of influences and fuelled by their passions for Punk Rock and Northern Soul. Within a few months drummer Phil Tomkins had left to be replaced by Rob Waddington. The band slowly built up a local following and created a unique style based on Justin's song-writing and Stuart's virtuosity on lead-bass.
In Summer 1982, whispers about this band reached London and they were invited to perform at a couple of showcases. But in a scene hungry for "the next big thing" (the coming "New Romantics"), NMA's fearsome music and northern style did not win over the Major Record Companies and they returned to Bradford empty-handed. Rob Waddington left to be replaced by Robert Heaton, who had been working as a drum tech and occasional drummer for the band ‘Hawkwind‘. Undeterred by the indifference of the Music Business, NMA began to perform more and more around the country and frequently featured as opening act on a series of all-day concerts at the London Lyceum which heralded many of the "Post-Punk" bands. Although this meant traveling for several hours to play a twenty-five minute set for no money, the band embraced the opportunity and their reputation as a live act grew. A first small-label independent single "Bittersweet" was released in the summer of 1983, followed by "Great Expectations" on Abstract Records that autumn, both played frequently on late night radio by John Peel. Suddenly the band had a "Following", people who would travel to every concert around the country to see them.
Early in 1984, the producer of "The Tube", the most important live music show on TV, had seen NMA in concert and invited them to fill the ‘unknown' slot on the programme. Having originally asked the band to perform their provocative anti-anthem, "Vengeance", the TV Company suddenly got cold feet about the song's lyrics minutes before broadcast and asked the band to change songs. It made no difference. Somehow twenty to thirty followers had managed to get into the TV studio and when NMA began with "Christian Militia" the crowd went wild and an electric atmosphere was transmitted around the country. Suddenly NMA were underground news. Their first mini-album, "Vengeance" knocked "The Smiths" from the top of the Independent Charts and the major record companies, who had rejected them less than two years earlier, were now begging to sign the band.
The autumn of 1984 was a time of political turmoil in Britain. After five years of Mrs Thatcher's right-wing government, which had already fuelled so much of NMA's early fury, a final showdown with the National Union of Mineworkers (the strike that had begun in March and had split the country), entered a critical phase and much of Northern England began to resemble a Police State. NMA's last Independent EP "The Price" also featured "1984" a song written directly about the strike and, with their declared left-wing views, NMA's concerts became increasingly intense.
At the end of the year, NMA signed a contract of "complete artist control" with EMI (which included EMI giving a donation to a miners fund). The move surprised many people but the band were already looking beyond the confines of Britain and considered the deal to be the right one. In the Spring of 1985 the album "No Rest For The Wicked" and the single "No Rest" both reached the national top 40, but this success and now relative financial security had done little to soften NMA's confrontational attitude. They appeared on Top Of The Pops wearing T-shirts with a motif reading "Only Stupid Bastards Use Heroin" (a reaction against the fashionable drug of the time).
Then, halfway through the "No Rest" tour, the day after their hometown gig, Stuart Morrow decided to leave the band for personal reasons. Frantic negotiations were made (by a strange unhappy co-incidence, on the very same day as the Bradford City fire disaster killed 56 people at a football match), but to no avail. As a result, Justin and Robert decided to follow up the success of "No Rest" with an acoustic song from the album "Better Than Them" which had not involved Stuart and accompanied it with three specially recorded acoustic tracks, a move of principle which dumbfounded EMI. By the summer, Stuart had been replaced by 17 year-old Jason 'Moose' Harris, whose first gig was at a benefit for the families of the fire tragedy, and the "No Rest" tour continued.
Thatcher's victory over the miners, and by extension over all organised opposition, marked a new political reality. This, coupled with the shock of Stuarts's departure and increasing media hostility, resulted in the band taking an ever more defiant posture, exemplified by a typically fiery performance at the Glastonbury Festival. Then, despite being signed to Capitol Records in North America, all attempts to tour there were prevented when the band were refused visas. Many people, on both sides of the Atlantic, believed that this was for political reasons although this was never possible to prove. Instead, that autumn NMA set out on their first long tour of the European mainland, which unlike many UK acts, they found much to their liking, and later a trip to Japan. The year ended with yet another UK tour in support of a newly recorded EP: "Brave New World", a savage portrait of the Thatcher's Britain and "RIP", an equally furious study of the band's history thus far.
If 1985 had been a traumatic year, then 1986 saw one of the band's many resurrections, with the legendary Glyn Johns agreeing to produce their third album. Though relations between band and producer were often difficult, Justin recalls the sessions as "the biggest musical learning curve of my life". "The Ghost Of Cain" was well received by the critics and audience and many people began to see a band that were capable of developing and changing and adjusting to new realities while still staying true to their own principles; this was a band that were now pursuing their own musical agenda, completely unmoved by the whims of the music industry or the expectations of fans. Outside Britain, their name was slowly becoming known and in December of 1986, they finally made a first short tour of America.
1987 was a year of full bloom. In January, Justin and Robert recorded an album with the poet Joolz Denby. Joolz had been the band's first manager and has remained as a driving force and responsible for all of the band's artwork from the beginning to the present day. She had previously made spoken word albums and a series of EPs with Jah Wobble but it was inevitable that she would collaborate with NMA. The album "Hex" was recorded at the very special Sawmills Studio, a unique place in Cornwall, only reachable at high tide by boat. Although the studio is now well known, at that time it was infrequently used and accommodation was in primitive cabins deep in the woods. From this new setting, and freed from the pressures of "being New Model Army", Justin and Robert were able to explore all kinds of ideas and musical avenues that their experience with Glyn Johns had opened up. Later, they both considered "Hex" to have been one of the creative highlights of their musical partnership, with its strong, romantic soundscapes acting as the perfect accompaniment to Joolz' poetry.
Much of the writing of "Hex" had been done using samplers and the use of this new tool continued to take the band in unexpected directions. That summer they recorded the "Whitecoats" EP with its ecological lyric and mystical atmosphere. An interest in mysticism and spirituality had been becoming more and more apparent in Justin's lyrics (though this was no surprise to those who knew of his family's Quaker roots). The same summer, Red Sky Coven was born out of a group of friends who shared these interests and ideas. It included Justin, Joolz, singer-songwriter and storyteller Rev Hammer and musician Brett Selby. Together, the foursome decided to create a performance based on this friendship, a unique show which continues to tour on an occasional basis.
1987 also saw plenty more NMA concerts, including Reading Festival, a gig with David Bowie in front of the Reichstag in Berlin and a show-stopping performance at the Bizarre Festival at Lorelei in Germany. From time to time, the band added their friend Ricky Warwick as a second guitarist and also enlisted Mark Feltham, the legendary harmonica player who had graced "The Ghost Of Cain" and "Hex" to join them. At the very end of the year and the beginning of 1988, they returned to the Sawmills for two more inspired writing sessions, which laid the foundations for "Thunder and Consolation".
The following months, though, were far more difficult, while NMA chose a producer, another music legend - Tom Dowd - and set about recording the album. It was a long drawn-out process and relationships between band members became increasingly strained, only really maintained by the knowledge that they were making something truly special. "Thunder and Consolation" was finally released early in 1989, striking a perfect balance between the band's fascinations with rock, folk and soul music and Justin's lyrical interest in spirituality, politics and family relationships. The album brought critical praise and new levels of commercial success and the band toured Europe and North America, joined by Ed Alleyne Johnson playing electric violin and keyboards and Chris Mclaughlin on guitar. However, despite the success, relationships at the heart of the band had not really mended and even after Jason Harris left that summer, stresses remained.
By autumn Justin and Robert were back in the Sawmills working towards another album and, in the new year, they were joined by a new (and still current) bass player, Nelson, previously of a number of East Anglian cult bands, and a new second guitarist, Adrian Portas from Sheffield. The new musicians brought a stronger atmosphere to the touring band while, in the studio, Justin and Robert continued to explore different musical ideas. Partly self-produced, "Impurity" was finally finished and mixed by Pat Collier in the summer of 1990. Still featuring Ed Alleyne Johnson' violin, the album was more eclectic than "Thunder" but continued to win new fans and the world-wide tour that followed its release lasted the best part of a year, culminating in a rolling Festival in Germany involving David Bowie, Midnight Oil, The Pixies and NMA.
In mid-1991, "Raw Melody Men", a live album from the tour, was put together and released. It was to be NMA's last album for EMI. Unusually, given the history of the music business, the relationship between band and record company had always remained cordial but had now simply grown stale. There were minor dissatisfactions on both sides and, after lengthy negotiations, it was agreed to simply terminate the contract. NMA's own Management Company also imploded at this time and new management was drawn up. The band was not short of new record company offers and eventually chose Epic, for reasons to do with support in the US.
Although Mrs Thatcher had been ousted by her own Party in 1990 (a memorable night coinciding with NMA's first visit to Rome), the Conservative monolith that had ruled the country for so long remained in power and, against all expectations, won a further election in 1992. Outside Britain though, much was changed: there was recession and instability and a so-called "New World Order" in the wake of the collapse of Soviet Communism and the 1st Gulf War. Already the band was embarked upon a very dark album, driven equally by personal traumas, including Justin's near-death electrocution on stage in Switzerland and the changes in the world around them. Produced by Niko Bolas and mixed by Bob Clearmountain, "The Love Of Hopeless Causes" was not what anyone was expecting. Just as folk-rock, pioneered and inspired in part by NMA, became a fashionable and commercial sound, the band made a deliberate move away from it and straight and into guitar-driven rock music.
Replacing Adrian with Dave Blomberg on guitar, they embarked on the album tour and the European section featured their most successful concerts yet. However NMA's relationship with their new record company quickly deteriorated. Worse still, they found themselves caught in corporate dispute between London and New York, which was in no way related to them. By June, the band found themselves on an exhaustive US tour, in which they had invested much of their own money, with no support of any kind from Epic or any other source. The tour featured many outstanding concerts but it was a bittersweet experience. By the end of the summer, it had been agreed that there should be a year off for everyone to rest and consider the future, while the contract with Epic was quickly terminated.
Justin used 1993-4 to produce other artists (a second collaboration with Joolz entitled "Weird Sister", Rev Hammer's "Bishop Of Buffalo" album and also the unusual Berlin combo, The Inchtabokatables), tour with Red Sky Coven and create another way of performing NMA songs - in a duo with new guitarist Dave Blomberg. Together they went back to Justin's first love - small club touring - and eventually released an album of the live show entitled "Big Guitars in Little Europe", an album, which has proved enduringly popular. Robert's main wish was to spend more time at home with his family, which he was now able to do and Nelson formed a new band "Nelson's Column" which toured England. Ed Alleyne Johnson followed up his first solo album "The Purple Electric Violin Concerto" which had been so successful with a second entitled "Ultraviolet".
After the year was up, Justin and Robert tentatively began work on a new project and in December 1994, the band (with Dean White on keyboards replacing Ed Alleyne Johnson) reassembled to play a short series of concerts. However, the next two years were lost while Justin and Robert, plagued by ill health and personal-life distractions tried unsuccessfully to pin down hundreds of new musical ideas into an album. It became increasingly obvious to both of them (and everyone else in and around the band) that they were now on very different musical paths. In 1997, Tommy Tee who had been the band's Tour Manager in the 1980s returned to take control of the band's drifting affairs. He enlisted producer Simon Dawson to help finish the project and by the autumn "Strange Brotherhood" was completed. Unsurprisingly, it's an album full to the brim with different and contrasting musical ideas while the lyrics range from the politics of the British Road Protest movement (in which Sullivan had been actively involved during 1996) to the deeply personal and sometimes unusually obscure. During the mixing, it was agreed that Justin and Robert would go their separate ways after the tour.
Then, suddenly Robert was diagnosed as having a brain tumour, and though the operation to remove it was successful, any prospect of touring was impossible. So he suggested that his place be taken by Michael Dean, a young drummer who had been working as his technician since 1993. Having watched Robert for some years, Michael was immediately comfortable with the role of drummer and with all other aspects of the band. The "Strange Brotherhood" tour began in the spring of 1998 and, happy to be back on the road at last, for the first couple of months, the band embarked on an ambitious programme of doing two sets each night, a 50 minute acoustic set followed by a full 90 minute rock. The tour continued on and off through to the end of the year.
By now Justin and Tommy Tee had restructured New Model Army's set-up to take account of the changes that the Internet was bringing to the whole music industry. This included making sure that the band owned every aspect of their work, and included their own record label (Attack Attack) to be distributed by different companies in different territories. 1999 began with a review of live shows recorded the previous year and their amalgamation into a live double album entitled "New Model Army and Nobody Else". After this Justin (assisted by Michael) began to write new songs for the next album. This was done quickly and easily for the first time since "Thunder", with Justin claiming to be "reborn as a song-writer." To keep up the momentum, it was decided to self-produce and to record the album in the band's own studio. Again this was done quickly with mostly Justin, Michael and Dean at the controls. (Living 250 and 300 miles from Bradford meant that Nelson and Dave were more occasional contributors for purely geographical reasons). The whole process was very much a reaction to the slow progress of "Strange Brotherhood", with the album given the simple name "Eight" to go with its whole stripped-down approach. It was released in the Spring of 2000 and was followed by more touring.
On October 23rd 2000, the band celebrated their 20th anniversary by playing another two set marathon at Rock City in Nottingham and then three months later, further special concerts in London and Koln which featured four completely different sets spread over two nights - a 57 song marathon in each city attended by over 7000 people.
One of the legacies of the lost years of the mid 1990s was a lot of unfinished material and next, Justin, Michael and Dean worked to finish and assemble this into accessible form, a double album "Lost Songs" released in 2002. Another ‘unfinished' project was Justin's long promised solo album and it was at this moment that he decided to pursue it. Meant to take just a few weeks to record and tour, "Navigating By The Stars" became another marathon. Hooking up with film and TV music producer, Ty Unwin, the first week of working coincided with ‘9/11'. Rather than making a political or angry response to unfolding events, the album's purpose was to ‘make something beautiful in an increasingly ugly World'. The album came out in 2003 to surprised and favourable reaction. At first touring alone with Dean (including a long awaited return to America), Justin was then joined by Michael playing percussion and the threesome bought a large mobile home and set off across Europe. The live album "Tales of the Road", released in 2004 captures their unique sound and stripped-down rearrangements of some of NMA's lesser known songs.
In 2004, an exhibition of all Joolz' artwork for the band plus collected memorabilia was assembled for a touring exhibition. Entitled ‘One Family, One Tribe' it has been on display in art galleries in Otley, York, Bradford and Hamm in Germany and there are plans for more future showings. Meanwhile, the band work began work on a new NMA album, at first focused around Michael's increasing creativity as a drummer. "Carnival" was recorded with producer Chris Tsangerides and mixed by Nat Chan. It's lyrical subjects and musical roots were as usual very eclectic but included many people's favourite NMA track, "Fireworks Night", Justin's emotional response to the sudden and unexpected death of Robert that Autumn. "Carnival" was released in September 2005, but when it came to the tour, Dave Blomberg was unable to participate for family reasons and his place was taken by Marshall Gill, a blues guitarist from Ashton Under Lyne, completing the band's current line-up in what Sullivan calls “the best version of NMA since 1985”.
The Carnival Tour marked another dynamic new beginning for the band, with Nelson sometimes playing as a second drummer, Dean sometimes as third guitarist and Michael and Marshall's energy much in evidence. Such was the sense of momentum and togetherness that for the first time in years, NMA moved quickly on to making another album with major contributions from all members. "High" was written and recorded in five months at the beginning of 2007, produced by old friend (and another production star, Chris Kimsey) and was ‘angrier' than any releases for a while and lyrically very much in tune with current realities.
The "High" tour rolled through 4 continents with the new line up now firmly in tune with itself and Marshall bringing a tougher edge to the band's sound - even managing to re-arrange the classic violin led anthem "Vagabonds" into a guitar led version. This and 16 other songs were released on a new live album, "Fuck Texas, Sing For Us", in November 2008 (the title taken from a chant at the band's New Orleans show that serves as the intro to the album).
The year ended with tours in Scandinavia, Eastern Europe and the customary December run of London, Paris, Amsterdam, and Koln with the band playing a fiery set of recent material. Remarkably, the band’s main 17 song set featured only two pre-2000 songs, as well as brand new material, a sure sign of the band’s forward momentum - and with their ticket sales up everywhere. Then, at Christmas, manager Tommy Tee died suddenly and unexpectedly. This was a major shock to everyone in and around the band, not only because as he ran all aspects of the band's affairs but also as a major part of the NMA family and history since 1982.
It took a while before the band could refocus but by Spring 2009, they were back in the studio working on their eleventh studio album, “Today Is A Good Day”. Mostly written in the wake of the 2008 Wall Street Collapse (an event celebrated in the white-hot opening title track), it was recorded in the band’s own studio in Bradford with Chris Kimsey once more at the controls. Chris wrote “the NMA 'family business' is back in full swing. The boys sound brave & united.” The album was hailed as one of their very best and the album tour began with a month in North America and went on for a further six months ending with a triumphant return to Glastonbury and other Festivals in the summer.
In the Autumn of 2010, the band celebrated their 30th Anniversary with the release of boxsets, books, DVDs and a full set of retrospective material and set out on the curious and challenging schedule. Promising to play a minimum of four songs from each of their 13 albums (including the two B-sides compilations) over two nights, they performed this marathon in different cities on four continents every weekend from September until Christmas. The final weekend in London was recorded and released in full as a five hour DVD.
After such a hectic year, 2011 was always going to be relatively quiet with the band concentrating on writing material for their next project. Consciously looking for something new after two convincing great rock band recorded live in a studio albums. this is a work in progress interrupted only by a handful of full band shows and rather more of the semi-acoustic Justin and Dean duo concerts. But then, as the year ended, disaster once again struck with a fire, started in the next door furniture outlet, raging through the band's Bradford base destroying pretty their whole studio set-up. No one was injured and the band have remarkably been able to salvage some of their touring gear from inside flight-cases. However, while remaining characteristically upbeat about the future, the band acknowledge that the loss of so much gear and a place to work will delay their plans for 2012. Meanwhile, in the background, BBC/Channel Four diector, Matt Reid, has been putting together a documentary film about the group for release sometime this year.
This is a remarkable band - as hungry and focused as ever, with a continually regenerating audience and insatiable creative ambition.
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I was always so heartened by the way people hold onto each other in this country. Men and women. They cling to their friends and it is lovely.
New Light Tactical Armoured Vehicle
BAE Systems Land Systems South Africa has won the Irish Army’s Light Tactical Armoured Vehicle (LTAV) contest, securing an order for 27 RG32M LTVs. The contract is worth some €19.6 million, and includes an option for a further batch of 27 vehicles. According to BAE, deliveries will start this year and take place over a three year period.
This deal follows on the heels of a third order from Sweden for the RG32M. The latest Swedish contract, announced last month (December) is for 60 vehicles and is worth some €18 million. It follows two previous orders for RG32Ms, the first – placed in 2005 – for 102 vehicles, and the second, placed in 2007, for another 98. The 200th and last vehicle acquired under these first and second contracts was delivered last year, and the first vehicle from the new contract will be delivered in February 2010. The RG32Ms of this third batch will be upgraded in various ways (the details are confidential) and the delivery of the production vehicles will be preceded by an upgrade and test cycle during this year.
Regarding the Irish order, the RG32M LTV was chosen after two months of intensive field trials, beating two European competitors – the Mowag Eagle IV from Switzerland, and the Iveco MLV from Italy. The Irish are adopting an LTAV, as they call this type of vehicle, specifically to participate in peacekeeping missions abroad, on behalf of the UN or EU – Ireland currently has an infantry battalion serving with the EU force in Chad.
In Irish service, the RG32M LTV will be employed in various roles, including surveillance, communications, target acquisition, and transporting US-made Javelin anti-tank missiles. The Irish vehicles will be armed either with 12,7 mm heavy machine guns or 40 mm automatic grenade launchers.
The RG32M LTV is the latest version of the RG32M, LTV standing for Light Tactical Vehicle. It has improved mine protection in comparison with previous models, providing greater blast survivability and crew protection.
The RG32M LTV is classified as a light armoured vehicle, in the light mine protected patrol vehicle category, and has a gross vehicle mass of only 9 t. Its armour can protect its crew from armour-piercing rifle fire as well as anti-tank land mine blasts, with its externally mounted windows providing improved side-blast protection. It has a 200 mm wider hull and 50 mm greater head space in comparison to earlier RG32Ms. The LTV version also has an increased, 2 t, payload and a new design of load bay which can take a wide variety of mission-specific equipment, making it more versatile. Despite its better protection and greater internal space, it has lost none of the ground clearance, agility, or mobility of the earlier versions.
The RG32M family makes extensive use of commercial-off-the-shelf components, reducing maintenace costs and minimising logistical burdens. These latest contracts take the total number of RG32Ms, of all models, built or on order, to more than 500. All have been, and will be, manufactured at the company’s plant in Benoni, east of Johannesburg
(All Photos from the DFMagazine Photostream)
The Journey so far.
New Model Army played their first gig in Bradford on October 23rd 1980. Its founding members were Justin Sullivan, Stuart Morrow and Phil Tompkins. The threesome had already been together for a couple of years in a number of Bradford bands with other musicians and singers but in the Autumn of 1980, they decided to form a stripped-down three-piece, their music drawing on a wide collection of influences and fuelled by their passions for Punk Rock and Northern Soul. Within a few months drummer Phil Tomkins had left to be replaced by Rob Waddington. The band slowly built up a local following and created a unique style based on Justin's song-writing and Stuart's virtuosity on lead-bass.
In Summer 1982, whispers about this band reached London and they were invited to perform at a couple of showcases. But in a scene hungry for "the next big thing" (the coming "New Romantics"), NMA's fearsome music and northern style did not win over the Major Record Companies and they returned to Bradford empty-handed. Rob Waddington left to be replaced by Robert Heaton, who had been working as a drum tech and occasional drummer for the band ‘Hawkwind‘. Undeterred by the indifference of the Music Business, NMA began to perform more and more around the country and frequently featured as opening act on a series of all-day concerts at the London Lyceum which heralded many of the "Post-Punk" bands. Although this meant traveling for several hours to play a twenty-five minute set for no money, the band embraced the opportunity and their reputation as a live act grew. A first small-label independent single "Bittersweet" was released in the summer of 1983, followed by "Great Expectations" on Abstract Records that autumn, both played frequently on late night radio by John Peel. Suddenly the band had a "Following", people who would travel to every concert around the country to see them.
Early in 1984, the producer of "The Tube", the most important live music show on TV, had seen NMA in concert and invited them to fill the ‘unknown' slot on the programme. Having originally asked the band to perform their provocative anti-anthem, "Vengeance", the TV Company suddenly got cold feet about the song's lyrics minutes before broadcast and asked the band to change songs. It made no difference. Somehow twenty to thirty followers had managed to get into the TV studio and when NMA began with "Christian Militia" the crowd went wild and an electric atmosphere was transmitted around the country. Suddenly NMA were underground news. Their first mini-album, "Vengeance" knocked "The Smiths" from the top of the Independent Charts and the major record companies, who had rejected them less than two years earlier, were now begging to sign the band.
The autumn of 1984 was a time of political turmoil in Britain. After five years of Mrs Thatcher's right-wing government, which had already fuelled so much of NMA's early fury, a final showdown with the National Union of Mineworkers (the strike that had begun in March and had split the country), entered a critical phase and much of Northern England began to resemble a Police State. NMA's last Independent EP "The Price" also featured "1984" a song written directly about the strike and, with their declared left-wing views, NMA's concerts became increasingly intense.
At the end of the year, NMA signed a contract of "complete artist control" with EMI (which included EMI giving a donation to a miners fund). The move surprised many people but the band were already looking beyond the confines of Britain and considered the deal to be the right one. In the Spring of 1985 the album "No Rest For The Wicked" and the single "No Rest" both reached the national top 40, but this success and now relative financial security had done little to soften NMA's confrontational attitude. They appeared on Top Of The Pops wearing T-shirts with a motif reading "Only Stupid Bastards Use Heroin" (a reaction against the fashionable drug of the time).
Then, halfway through the "No Rest" tour, the day after their hometown gig, Stuart Morrow decided to leave the band for personal reasons. Frantic negotiations were made (by a strange unhappy co-incidence, on the very same day as the Bradford City fire disaster killed 56 people at a football match), but to no avail. As a result, Justin and Robert decided to follow up the success of "No Rest" with an acoustic song from the album "Better Than Them" which had not involved Stuart and accompanied it with three specially recorded acoustic tracks, a move of principle which dumbfounded EMI. By the summer, Stuart had been replaced by 17 year-old Jason 'Moose' Harris, whose first gig was at a benefit for the families of the fire tragedy, and the "No Rest" tour continued.
Thatcher's victory over the miners, and by extension over all organised opposition, marked a new political reality. This, coupled with the shock of Stuarts's departure and increasing media hostility, resulted in the band taking an ever more defiant posture, exemplified by a typically fiery performance at the Glastonbury Festival. Then, despite being signed to Capitol Records in North America, all attempts to tour there were prevented when the band were refused visas. Many people, on both sides of the Atlantic, believed that this was for political reasons although this was never possible to prove. Instead, that autumn NMA set out on their first long tour of the European mainland, which unlike many UK acts, they found much to their liking, and later a trip to Japan. The year ended with yet another UK tour in support of a newly recorded EP: "Brave New World", a savage portrait of the Thatcher's Britain and "RIP", an equally furious study of the band's history thus far.
If 1985 had been a traumatic year, then 1986 saw one of the band's many resurrections, with the legendary Glyn Johns agreeing to produce their third album. Though relations between band and producer were often difficult, Justin recalls the sessions as "the biggest musical learning curve of my life". "The Ghost Of Cain" was well received by the critics and audience and many people began to see a band that were capable of developing and changing and adjusting to new realities while still staying true to their own principles; this was a band that were now pursuing their own musical agenda, completely unmoved by the whims of the music industry or the expectations of fans. Outside Britain, their name was slowly becoming known and in December of 1986, they finally made a first short tour of America.
1987 was a year of full bloom. In January, Justin and Robert recorded an album with the poet Joolz Denby. Joolz had been the band's first manager and has remained as a driving force and responsible for all of the band's artwork from the beginning to the present day. She had previously made spoken word albums and a series of EPs with Jah Wobble but it was inevitable that she would collaborate with NMA. The album "Hex" was recorded at the very special Sawmills Studio, a unique place in Cornwall, only reachable at high tide by boat. Although the studio is now well known, at that time it was infrequently used and accommodation was in primitive cabins deep in the woods. From this new setting, and freed from the pressures of "being New Model Army", Justin and Robert were able to explore all kinds of ideas and musical avenues that their experience with Glyn Johns had opened up. Later, they both considered "Hex" to have been one of the creative highlights of their musical partnership, with its strong, romantic soundscapes acting as the perfect accompaniment to Joolz' poetry.
Much of the writing of "Hex" had been done using samplers and the use of this new tool continued to take the band in unexpected directions. That summer they recorded the "Whitecoats" EP with its ecological lyric and mystical atmosphere. An interest in mysticism and spirituality had been becoming more and more apparent in Justin's lyrics (though this was no surprise to those who knew of his family's Quaker roots). The same summer, Red Sky Coven was born out of a group of friends who shared these interests and ideas. It included Justin, Joolz, singer-songwriter and storyteller Rev Hammer and musician Brett Selby. Together, the foursome decided to create a performance based on this friendship, a unique show which continues to tour on an occasional basis.
1987 also saw plenty more NMA concerts, including Reading Festival, a gig with David Bowie in front of the Reichstag in Berlin and a show-stopping performance at the Bizarre Festival at Lorelei in Germany. From time to time, the band added their friend Ricky Warwick as a second guitarist and also enlisted Mark Feltham, the legendary harmonica player who had graced "The Ghost Of Cain" and "Hex" to join them. At the very end of the year and the beginning of 1988, they returned to the Sawmills for two more inspired writing sessions, which laid the foundations for "Thunder and Consolation".
The following months, though, were far more difficult, while NMA chose a producer, another music legend - Tom Dowd - and set about recording the album. It was a long drawn-out process and relationships between band members became increasingly strained, only really maintained by the knowledge that they were making something truly special. "Thunder and Consolation" was finally released early in 1989, striking a perfect balance between the band's fascinations with rock, folk and soul music and Justin's lyrical interest in spirituality, politics and family relationships. The album brought critical praise and new levels of commercial success and the band toured Europe and North America, joined by Ed Alleyne Johnson playing electric violin and keyboards and Chris Mclaughlin on guitar. However, despite the success, relationships at the heart of the band had not really mended and even after Jason Harris left that summer, stresses remained.
By autumn Justin and Robert were back in the Sawmills working towards another album and, in the new year, they were joined by a new (and still current) bass player, Nelson, previously of a number of East Anglian cult bands, and a new second guitarist, Adrian Portas from Sheffield. The new musicians brought a stronger atmosphere to the touring band while, in the studio, Justin and Robert continued to explore different musical ideas. Partly self-produced, "Impurity" was finally finished and mixed by Pat Collier in the summer of 1990. Still featuring Ed Alleyne Johnson' violin, the album was more eclectic than "Thunder" but continued to win new fans and the world-wide tour that followed its release lasted the best part of a year, culminating in a rolling Festival in Germany involving David Bowie, Midnight Oil, The Pixies and NMA.
In mid-1991, "Raw Melody Men", a live album from the tour, was put together and released. It was to be NMA's last album for EMI. Unusually, given the history of the music business, the relationship between band and record company had always remained cordial but had now simply grown stale. There were minor dissatisfactions on both sides and, after lengthy negotiations, it was agreed to simply terminate the contract. NMA's own Management Company also imploded at this time and new management was drawn up. The band was not short of new record company offers and eventually chose Epic, for reasons to do with support in the US.
Although Mrs Thatcher had been ousted by her own Party in 1990 (a memorable night coinciding with NMA's first visit to Rome), the Conservative monolith that had ruled the country for so long remained in power and, against all expectations, won a further election in 1992. Outside Britain though, much was changed: there was recession and instability and a so-called "New World Order" in the wake of the collapse of Soviet Communism and the 1st Gulf War. Already the band was embarked upon a very dark album, driven equally by personal traumas, including Justin's near-death electrocution on stage in Switzerland and the changes in the world around them. Produced by Niko Bolas and mixed by Bob Clearmountain, "The Love Of Hopeless Causes" was not what anyone was expecting. Just as folk-rock, pioneered and inspired in part by NMA, became a fashionable and commercial sound, the band made a deliberate move away from it and straight and into guitar-driven rock music.
Replacing Adrian with Dave Blomberg on guitar, they embarked on the album tour and the European section featured their most successful concerts yet. However NMA's relationship with their new record company quickly deteriorated. Worse still, they found themselves caught in corporate dispute between London and New York, which was in no way related to them. By June, the band found themselves on an exhaustive US tour, in which they had invested much of their own money, with no support of any kind from Epic or any other source. The tour featured many outstanding concerts but it was a bittersweet experience. By the end of the summer, it had been agreed that there should be a year off for everyone to rest and consider the future, while the contract with Epic was quickly terminated.
Justin used 1993-4 to produce other artists (a second collaboration with Joolz entitled "Weird Sister", Rev Hammer's "Bishop Of Buffalo" album and also the unusual Berlin combo, The Inchtabokatables), tour with Red Sky Coven and create another way of performing NMA songs - in a duo with new guitarist Dave Blomberg. Together they went back to Justin's first love - small club touring - and eventually released an album of the live show entitled "Big Guitars in Little Europe", an album, which has proved enduringly popular. Robert's main wish was to spend more time at home with his family, which he was now able to do and Nelson formed a new band "Nelson's Column" which toured England. Ed Alleyne Johnson followed up his first solo album "The Purple Electric Violin Concerto" which had been so successful with a second entitled "Ultraviolet".
After the year was up, Justin and Robert tentatively began work on a new project and in December 1994, the band (with Dean White on keyboards replacing Ed Alleyne Johnson) reassembled to play a short series of concerts. However, the next two years were lost while Justin and Robert, plagued by ill health and personal-life distractions tried unsuccessfully to pin down hundreds of new musical ideas into an album. It became increasingly obvious to both of them (and everyone else in and around the band) that they were now on very different musical paths. In 1997, Tommy Tee who had been the band's Tour Manager in the 1980s returned to take control of the band's drifting affairs. He enlisted producer Simon Dawson to help finish the project and by the autumn "Strange Brotherhood" was completed. Unsurprisingly, it's an album full to the brim with different and contrasting musical ideas while the lyrics range from the politics of the British Road Protest movement (in which Sullivan had been actively involved during 1996) to the deeply personal and sometimes unusually obscure. During the mixing, it was agreed that Justin and Robert would go their separate ways after the tour.
Then, suddenly Robert was diagnosed as having a brain tumour, and though the operation to remove it was successful, any prospect of touring was impossible. So he suggested that his place be taken by Michael Dean, a young drummer who had been working as his technician since 1993. Having watched Robert for some years, Michael was immediately comfortable with the role of drummer and with all other aspects of the band. The "Strange Brotherhood" tour began in the spring of 1998 and, happy to be back on the road at last, for the first couple of months, the band embarked on an ambitious programme of doing two sets each night, a 50 minute acoustic set followed by a full 90 minute rock. The tour continued on and off through to the end of the year.
By now Justin and Tommy Tee had restructured New Model Army's set-up to take account of the changes that the Internet was bringing to the whole music industry. This included making sure that the band owned every aspect of their work, and included their own record label (Attack Attack) to be distributed by different companies in different territories. 1999 began with a review of live shows recorded the previous year and their amalgamation into a live double album entitled "New Model Army and Nobody Else". After this Justin (assisted by Michael) began to write new songs for the next album. This was done quickly and easily for the first time since "Thunder", with Justin claiming to be "reborn as a song-writer." To keep up the momentum, it was decided to self-produce and to record the album in the band's own studio. Again this was done quickly with mostly Justin, Michael and Dean at the controls. (Living 250 and 300 miles from Bradford meant that Nelson and Dave were more occasional contributors for purely geographical reasons). The whole process was very much a reaction to the slow progress of "Strange Brotherhood", with the album given the simple name "Eight" to go with its whole stripped-down approach. It was released in the Spring of 2000 and was followed by more touring.
On October 23rd 2000, the band celebrated their 20th anniversary by playing another two set marathon at Rock City in Nottingham and then three months later, further special concerts in London and Koln which featured four completely different sets spread over two nights - a 57 song marathon in each city attended by over 7000 people.
One of the legacies of the lost years of the mid 1990s was a lot of unfinished material and next, Justin, Michael and Dean worked to finish and assemble this into accessible form, a double album "Lost Songs" released in 2002. Another ‘unfinished' project was Justin's long promised solo album and it was at this moment that he decided to pursue it. Meant to take just a few weeks to record and tour, "Navigating By The Stars" became another marathon. Hooking up with film and TV music producer, Ty Unwin, the first week of working coincided with ‘9/11'. Rather than making a political or angry response to unfolding events, the album's purpose was to ‘make something beautiful in an increasingly ugly World'. The album came out in 2003 to surprised and favourable reaction. At first touring alone with Dean (including a long awaited return to America), Justin was then joined by Michael playing percussion and the threesome bought a large mobile home and set off across Europe. The live album "Tales of the Road", released in 2004 captures their unique sound and stripped-down rearrangements of some of NMA's lesser known songs.
In 2004, an exhibition of all Joolz' artwork for the band plus collected memorabilia was assembled for a touring exhibition. Entitled ‘One Family, One Tribe' it has been on display in art galleries in Otley, York, Bradford and Hamm in Germany and there are plans for more future showings. Meanwhile, the band work began work on a new NMA album, at first focused around Michael's increasing creativity as a drummer. "Carnival" was recorded with producer Chris Tsangerides and mixed by Nat Chan. It's lyrical subjects and musical roots were as usual very eclectic but included many people's favourite NMA track, "Fireworks Night", Justin's emotional response to the sudden and unexpected death of Robert that Autumn. "Carnival" was released in September 2005, but when it came to the tour, Dave Blomberg was unable to participate for family reasons and his place was taken by Marshall Gill, a blues guitarist from Ashton Under Lyne, completing the band's current line-up in what Sullivan calls “the best version of NMA since 1985”.
The Carnival Tour marked another dynamic new beginning for the band, with Nelson sometimes playing as a second drummer, Dean sometimes as third guitarist and Michael and Marshall's energy much in evidence. Such was the sense of momentum and togetherness that for the first time in years, NMA moved quickly on to making another album with major contributions from all members. "High" was written and recorded in five months at the beginning of 2007, produced by old friend (and another production star, Chris Kimsey) and was ‘angrier' than any releases for a while and lyrically very much in tune with current realities.
The "High" tour rolled through 4 continents with the new line up now firmly in tune with itself and Marshall bringing a tougher edge to the band's sound - even managing to re-arrange the classic violin led anthem "Vagabonds" into a guitar led version. This and 16 other songs were released on a new live album, "Fuck Texas, Sing For Us", in November 2008 (the title taken from a chant at the band's New Orleans show that serves as the intro to the album).
The year ended with tours in Scandinavia, Eastern Europe and the customary December run of London, Paris, Amsterdam, and Koln with the band playing a fiery set of recent material. Remarkably, the band’s main 17 song set featured only two pre-2000 songs, as well as brand new material, a sure sign of the band’s forward momentum - and with their ticket sales up everywhere. Then, at Christmas, manager Tommy Tee died suddenly and unexpectedly. This was a major shock to everyone in and around the band, not only because as he ran all aspects of the band's affairs but also as a major part of the NMA family and history since 1982.
It took a while before the band could refocus but by Spring 2009, they were back in the studio working on their eleventh studio album, “Today Is A Good Day”. Mostly written in the wake of the 2008 Wall Street Collapse (an event celebrated in the white-hot opening title track), it was recorded in the band’s own studio in Bradford with Chris Kimsey once more at the controls. Chris wrote “the NMA 'family business' is back in full swing. The boys sound brave & united.” The album was hailed as one of their very best and the album tour began with a month in North America and went on for a further six months ending with a triumphant return to Glastonbury and other Festivals in the summer.
In the Autumn of 2010, the band celebrated their 30th Anniversary with the release of boxsets, books, DVDs and a full set of retrospective material and set out on the curious and challenging schedule. Promising to play a minimum of four songs from each of their 13 albums (including the two B-sides compilations) over two nights, they performed this marathon in different cities on four continents every weekend from September until Christmas. The final weekend in London was recorded and released in full as a five hour DVD.
After such a hectic year, 2011 was always going to be relatively quiet with the band concentrating on writing material for their next project. Consciously looking for something new after two convincing great rock band recorded live in a studio albums. this is a work in progress interrupted only by a handful of full band shows and rather more of the semi-acoustic Justin and Dean duo concerts. But then, as the year ended, disaster once again struck with a fire, started in the next door furniture outlet, raging through the band's Bradford base destroying pretty their whole studio set-up. No one was injured and the band have remarkably been able to salvage some of their touring gear from inside flight-cases. However, while remaining characteristically upbeat about the future, the band acknowledge that the loss of so much gear and a place to work will delay their plans for 2012. Meanwhile, in the background, BBC/Channel Four diector, Matt Reid, has been putting together a documentary film about the group for release sometime this year.
This is a remarkable band - as hungry and focused as ever, with a continually regenerating audience and insatiable creative ambition.
Bangladesh Army Soldiers during foot and vehicle mounted patrols while Peacekeeping operations serving with UNAMID, Darfur Africa
Bangladesh Army Soldiers during foot and vehicle mounted patrols while Peacekeeping operations serving with UNAMID, Darfur Africa
The Journey so far.
New Model Army played their first gig in Bradford on October 23rd 1980. Its founding members were Justin Sullivan, Stuart Morrow and Phil Tompkins. The threesome had already been together for a couple of years in a number of Bradford bands with other musicians and singers but in the Autumn of 1980, they decided to form a stripped-down three-piece, their music drawing on a wide collection of influences and fuelled by their passions for Punk Rock and Northern Soul. Within a few months drummer Phil Tomkins had left to be replaced by Rob Waddington. The band slowly built up a local following and created a unique style based on Justin's song-writing and Stuart's virtuosity on lead-bass.
In Summer 1982, whispers about this band reached London and they were invited to perform at a couple of showcases. But in a scene hungry for "the next big thing" (the coming "New Romantics"), NMA's fearsome music and northern style did not win over the Major Record Companies and they returned to Bradford empty-handed. Rob Waddington left to be replaced by Robert Heaton, who had been working as a drum tech and occasional drummer for the band ‘Hawkwind‘. Undeterred by the indifference of the Music Business, NMA began to perform more and more around the country and frequently featured as opening act on a series of all-day concerts at the London Lyceum which heralded many of the "Post-Punk" bands. Although this meant traveling for several hours to play a twenty-five minute set for no money, the band embraced the opportunity and their reputation as a live act grew. A first small-label independent single "Bittersweet" was released in the summer of 1983, followed by "Great Expectations" on Abstract Records that autumn, both played frequently on late night radio by John Peel. Suddenly the band had a "Following", people who would travel to every concert around the country to see them.
Early in 1984, the producer of "The Tube", the most important live music show on TV, had seen NMA in concert and invited them to fill the ‘unknown' slot on the programme. Having originally asked the band to perform their provocative anti-anthem, "Vengeance", the TV Company suddenly got cold feet about the song's lyrics minutes before broadcast and asked the band to change songs. It made no difference. Somehow twenty to thirty followers had managed to get into the TV studio and when NMA began with "Christian Militia" the crowd went wild and an electric atmosphere was transmitted around the country. Suddenly NMA were underground news. Their first mini-album, "Vengeance" knocked "The Smiths" from the top of the Independent Charts and the major record companies, who had rejected them less than two years earlier, were now begging to sign the band.
The autumn of 1984 was a time of political turmoil in Britain. After five years of Mrs Thatcher's right-wing government, which had already fuelled so much of NMA's early fury, a final showdown with the National Union of Mineworkers (the strike that had begun in March and had split the country), entered a critical phase and much of Northern England began to resemble a Police State. NMA's last Independent EP "The Price" also featured "1984" a song written directly about the strike and, with their declared left-wing views, NMA's concerts became increasingly intense.
At the end of the year, NMA signed a contract of "complete artist control" with EMI (which included EMI giving a donation to a miners fund). The move surprised many people but the band were already looking beyond the confines of Britain and considered the deal to be the right one. In the Spring of 1985 the album "No Rest For The Wicked" and the single "No Rest" both reached the national top 40, but this success and now relative financial security had done little to soften NMA's confrontational attitude. They appeared on Top Of The Pops wearing T-shirts with a motif reading "Only Stupid Bastards Use Heroin" (a reaction against the fashionable drug of the time).
Then, halfway through the "No Rest" tour, the day after their hometown gig, Stuart Morrow decided to leave the band for personal reasons. Frantic negotiations were made (by a strange unhappy co-incidence, on the very same day as the Bradford City fire disaster killed 56 people at a football match), but to no avail. As a result, Justin and Robert decided to follow up the success of "No Rest" with an acoustic song from the album "Better Than Them" which had not involved Stuart and accompanied it with three specially recorded acoustic tracks, a move of principle which dumbfounded EMI. By the summer, Stuart had been replaced by 17 year-old Jason 'Moose' Harris, whose first gig was at a benefit for the families of the fire tragedy, and the "No Rest" tour continued.
Thatcher's victory over the miners, and by extension over all organised opposition, marked a new political reality. This, coupled with the shock of Stuarts's departure and increasing media hostility, resulted in the band taking an ever more defiant posture, exemplified by a typically fiery performance at the Glastonbury Festival. Then, despite being signed to Capitol Records in North America, all attempts to tour there were prevented when the band were refused visas. Many people, on both sides of the Atlantic, believed that this was for political reasons although this was never possible to prove. Instead, that autumn NMA set out on their first long tour of the European mainland, which unlike many UK acts, they found much to their liking, and later a trip to Japan. The year ended with yet another UK tour in support of a newly recorded EP: "Brave New World", a savage portrait of the Thatcher's Britain and "RIP", an equally furious study of the band's history thus far.
If 1985 had been a traumatic year, then 1986 saw one of the band's many resurrections, with the legendary Glyn Johns agreeing to produce their third album. Though relations between band and producer were often difficult, Justin recalls the sessions as "the biggest musical learning curve of my life". "The Ghost Of Cain" was well received by the critics and audience and many people began to see a band that were capable of developing and changing and adjusting to new realities while still staying true to their own principles; this was a band that were now pursuing their own musical agenda, completely unmoved by the whims of the music industry or the expectations of fans. Outside Britain, their name was slowly becoming known and in December of 1986, they finally made a first short tour of America.
1987 was a year of full bloom. In January, Justin and Robert recorded an album with the poet Joolz Denby. Joolz had been the band's first manager and has remained as a driving force and responsible for all of the band's artwork from the beginning to the present day. She had previously made spoken word albums and a series of EPs with Jah Wobble but it was inevitable that she would collaborate with NMA. The album "Hex" was recorded at the very special Sawmills Studio, a unique place in Cornwall, only reachable at high tide by boat. Although the studio is now well known, at that time it was infrequently used and accommodation was in primitive cabins deep in the woods. From this new setting, and freed from the pressures of "being New Model Army", Justin and Robert were able to explore all kinds of ideas and musical avenues that their experience with Glyn Johns had opened up. Later, they both considered "Hex" to have been one of the creative highlights of their musical partnership, with its strong, romantic soundscapes acting as the perfect accompaniment to Joolz' poetry.
Much of the writing of "Hex" had been done using samplers and the use of this new tool continued to take the band in unexpected directions. That summer they recorded the "Whitecoats" EP with its ecological lyric and mystical atmosphere. An interest in mysticism and spirituality had been becoming more and more apparent in Justin's lyrics (though this was no surprise to those who knew of his family's Quaker roots). The same summer, Red Sky Coven was born out of a group of friends who shared these interests and ideas. It included Justin, Joolz, singer-songwriter and storyteller Rev Hammer and musician Brett Selby. Together, the foursome decided to create a performance based on this friendship, a unique show which continues to tour on an occasional basis.
1987 also saw plenty more NMA concerts, including Reading Festival, a gig with David Bowie in front of the Reichstag in Berlin and a show-stopping performance at the Bizarre Festival at Lorelei in Germany. From time to time, the band added their friend Ricky Warwick as a second guitarist and also enlisted Mark Feltham, the legendary harmonica player who had graced "The Ghost Of Cain" and "Hex" to join them. At the very end of the year and the beginning of 1988, they returned to the Sawmills for two more inspired writing sessions, which laid the foundations for "Thunder and Consolation".
The following months, though, were far more difficult, while NMA chose a producer, another music legend - Tom Dowd - and set about recording the album. It was a long drawn-out process and relationships between band members became increasingly strained, only really maintained by the knowledge that they were making something truly special. "Thunder and Consolation" was finally released early in 1989, striking a perfect balance between the band's fascinations with rock, folk and soul music and Justin's lyrical interest in spirituality, politics and family relationships. The album brought critical praise and new levels of commercial success and the band toured Europe and North America, joined by Ed Alleyne Johnson playing electric violin and keyboards and Chris Mclaughlin on guitar. However, despite the success, relationships at the heart of the band had not really mended and even after Jason Harris left that summer, stresses remained.
By autumn Justin and Robert were back in the Sawmills working towards another album and, in the new year, they were joined by a new (and still current) bass player, Nelson, previously of a number of East Anglian cult bands, and a new second guitarist, Adrian Portas from Sheffield. The new musicians brought a stronger atmosphere to the touring band while, in the studio, Justin and Robert continued to explore different musical ideas. Partly self-produced, "Impurity" was finally finished and mixed by Pat Collier in the summer of 1990. Still featuring Ed Alleyne Johnson' violin, the album was more eclectic than "Thunder" but continued to win new fans and the world-wide tour that followed its release lasted the best part of a year, culminating in a rolling Festival in Germany involving David Bowie, Midnight Oil, The Pixies and NMA.
In mid-1991, "Raw Melody Men", a live album from the tour, was put together and released. It was to be NMA's last album for EMI. Unusually, given the history of the music business, the relationship between band and record company had always remained cordial but had now simply grown stale. There were minor dissatisfactions on both sides and, after lengthy negotiations, it was agreed to simply terminate the contract. NMA's own Management Company also imploded at this time and new management was drawn up. The band was not short of new record company offers and eventually chose Epic, for reasons to do with support in the US.
Although Mrs Thatcher had been ousted by her own Party in 1990 (a memorable night coinciding with NMA's first visit to Rome), the Conservative monolith that had ruled the country for so long remained in power and, against all expectations, won a further election in 1992. Outside Britain though, much was changed: there was recession and instability and a so-called "New World Order" in the wake of the collapse of Soviet Communism and the 1st Gulf War. Already the band was embarked upon a very dark album, driven equally by personal traumas, including Justin's near-death electrocution on stage in Switzerland and the changes in the world around them. Produced by Niko Bolas and mixed by Bob Clearmountain, "The Love Of Hopeless Causes" was not what anyone was expecting. Just as folk-rock, pioneered and inspired in part by NMA, became a fashionable and commercial sound, the band made a deliberate move away from it and straight and into guitar-driven rock music.
Replacing Adrian with Dave Blomberg on guitar, they embarked on the album tour and the European section featured their most successful concerts yet. However NMA's relationship with their new record company quickly deteriorated. Worse still, they found themselves caught in corporate dispute between London and New York, which was in no way related to them. By June, the band found themselves on an exhaustive US tour, in which they had invested much of their own money, with no support of any kind from Epic or any other source. The tour featured many outstanding concerts but it was a bittersweet experience. By the end of the summer, it had been agreed that there should be a year off for everyone to rest and consider the future, while the contract with Epic was quickly terminated.
Justin used 1993-4 to produce other artists (a second collaboration with Joolz entitled "Weird Sister", Rev Hammer's "Bishop Of Buffalo" album and also the unusual Berlin combo, The Inchtabokatables), tour with Red Sky Coven and create another way of performing NMA songs - in a duo with new guitarist Dave Blomberg. Together they went back to Justin's first love - small club touring - and eventually released an album of the live show entitled "Big Guitars in Little Europe", an album, which has proved enduringly popular. Robert's main wish was to spend more time at home with his family, which he was now able to do and Nelson formed a new band "Nelson's Column" which toured England. Ed Alleyne Johnson followed up his first solo album "The Purple Electric Violin Concerto" which had been so successful with a second entitled "Ultraviolet".
After the year was up, Justin and Robert tentatively began work on a new project and in December 1994, the band (with Dean White on keyboards replacing Ed Alleyne Johnson) reassembled to play a short series of concerts. However, the next two years were lost while Justin and Robert, plagued by ill health and personal-life distractions tried unsuccessfully to pin down hundreds of new musical ideas into an album. It became increasingly obvious to both of them (and everyone else in and around the band) that they were now on very different musical paths. In 1997, Tommy Tee who had been the band's Tour Manager in the 1980s returned to take control of the band's drifting affairs. He enlisted producer Simon Dawson to help finish the project and by the autumn "Strange Brotherhood" was completed. Unsurprisingly, it's an album full to the brim with different and contrasting musical ideas while the lyrics range from the politics of the British Road Protest movement (in which Sullivan had been actively involved during 1996) to the deeply personal and sometimes unusually obscure. During the mixing, it was agreed that Justin and Robert would go their separate ways after the tour.
Then, suddenly Robert was diagnosed as having a brain tumour, and though the operation to remove it was successful, any prospect of touring was impossible. So he suggested that his place be taken by Michael Dean, a young drummer who had been working as his technician since 1993. Having watched Robert for some years, Michael was immediately comfortable with the role of drummer and with all other aspects of the band. The "Strange Brotherhood" tour began in the spring of 1998 and, happy to be back on the road at last, for the first couple of months, the band embarked on an ambitious programme of doing two sets each night, a 50 minute acoustic set followed by a full 90 minute rock. The tour continued on and off through to the end of the year.
By now Justin and Tommy Tee had restructured New Model Army's set-up to take account of the changes that the Internet was bringing to the whole music industry. This included making sure that the band owned every aspect of their work, and included their own record label (Attack Attack) to be distributed by different companies in different territories. 1999 began with a review of live shows recorded the previous year and their amalgamation into a live double album entitled "New Model Army and Nobody Else". After this Justin (assisted by Michael) began to write new songs for the next album. This was done quickly and easily for the first time since "Thunder", with Justin claiming to be "reborn as a song-writer." To keep up the momentum, it was decided to self-produce and to record the album in the band's own studio. Again this was done quickly with mostly Justin, Michael and Dean at the controls. (Living 250 and 300 miles from Bradford meant that Nelson and Dave were more occasional contributors for purely geographical reasons). The whole process was very much a reaction to the slow progress of "Strange Brotherhood", with the album given the simple name "Eight" to go with its whole stripped-down approach. It was released in the Spring of 2000 and was followed by more touring.
On October 23rd 2000, the band celebrated their 20th anniversary by playing another two set marathon at Rock City in Nottingham and then three months later, further special concerts in London and Koln which featured four completely different sets spread over two nights - a 57 song marathon in each city attended by over 7000 people.
One of the legacies of the lost years of the mid 1990s was a lot of unfinished material and next, Justin, Michael and Dean worked to finish and assemble this into accessible form, a double album "Lost Songs" released in 2002. Another ‘unfinished' project was Justin's long promised solo album and it was at this moment that he decided to pursue it. Meant to take just a few weeks to record and tour, "Navigating By The Stars" became another marathon. Hooking up with film and TV music producer, Ty Unwin, the first week of working coincided with ‘9/11'. Rather than making a political or angry response to unfolding events, the album's purpose was to ‘make something beautiful in an increasingly ugly World'. The album came out in 2003 to surprised and favourable reaction. At first touring alone with Dean (including a long awaited return to America), Justin was then joined by Michael playing percussion and the threesome bought a large mobile home and set off across Europe. The live album "Tales of the Road", released in 2004 captures their unique sound and stripped-down rearrangements of some of NMA's lesser known songs.
In 2004, an exhibition of all Joolz' artwork for the band plus collected memorabilia was assembled for a touring exhibition. Entitled ‘One Family, One Tribe' it has been on display in art galleries in Otley, York, Bradford and Hamm in Germany and there are plans for more future showings. Meanwhile, the band work began work on a new NMA album, at first focused around Michael's increasing creativity as a drummer. "Carnival" was recorded with producer Chris Tsangerides and mixed by Nat Chan. It's lyrical subjects and musical roots were as usual very eclectic but included many people's favourite NMA track, "Fireworks Night", Justin's emotional response to the sudden and unexpected death of Robert that Autumn. "Carnival" was released in September 2005, but when it came to the tour, Dave Blomberg was unable to participate for family reasons and his place was taken by Marshall Gill, a blues guitarist from Ashton Under Lyne, completing the band's current line-up in what Sullivan calls “the best version of NMA since 1985”.
The Carnival Tour marked another dynamic new beginning for the band, with Nelson sometimes playing as a second drummer, Dean sometimes as third guitarist and Michael and Marshall's energy much in evidence. Such was the sense of momentum and togetherness that for the first time in years, NMA moved quickly on to making another album with major contributions from all members. "High" was written and recorded in five months at the beginning of 2007, produced by old friend (and another production star, Chris Kimsey) and was ‘angrier' than any releases for a while and lyrically very much in tune with current realities.
The "High" tour rolled through 4 continents with the new line up now firmly in tune with itself and Marshall bringing a tougher edge to the band's sound - even managing to re-arrange the classic violin led anthem "Vagabonds" into a guitar led version. This and 16 other songs were released on a new live album, "Fuck Texas, Sing For Us", in November 2008 (the title taken from a chant at the band's New Orleans show that serves as the intro to the album).
The year ended with tours in Scandinavia, Eastern Europe and the customary December run of London, Paris, Amsterdam, and Koln with the band playing a fiery set of recent material. Remarkably, the band’s main 17 song set featured only two pre-2000 songs, as well as brand new material, a sure sign of the band’s forward momentum - and with their ticket sales up everywhere. Then, at Christmas, manager Tommy Tee died suddenly and unexpectedly. This was a major shock to everyone in and around the band, not only because as he ran all aspects of the band's affairs but also as a major part of the NMA family and history since 1982.
It took a while before the band could refocus but by Spring 2009, they were back in the studio working on their eleventh studio album, “Today Is A Good Day”. Mostly written in the wake of the 2008 Wall Street Collapse (an event celebrated in the white-hot opening title track), it was recorded in the band’s own studio in Bradford with Chris Kimsey once more at the controls. Chris wrote “the NMA 'family business' is back in full swing. The boys sound brave & united.” The album was hailed as one of their very best and the album tour began with a month in North America and went on for a further six months ending with a triumphant return to Glastonbury and other Festivals in the summer.
In the Autumn of 2010, the band celebrated their 30th Anniversary with the release of boxsets, books, DVDs and a full set of retrospective material and set out on the curious and challenging schedule. Promising to play a minimum of four songs from each of their 13 albums (including the two B-sides compilations) over two nights, they performed this marathon in different cities on four continents every weekend from September until Christmas. The final weekend in London was recorded and released in full as a five hour DVD.
After such a hectic year, 2011 was always going to be relatively quiet with the band concentrating on writing material for their next project. Consciously looking for something new after two convincing great rock band recorded live in a studio albums. this is a work in progress interrupted only by a handful of full band shows and rather more of the semi-acoustic Justin and Dean duo concerts. But then, as the year ended, disaster once again struck with a fire, started in the next door furniture outlet, raging through the band's Bradford base destroying pretty their whole studio set-up. No one was injured and the band have remarkably been able to salvage some of their touring gear from inside flight-cases. However, while remaining characteristically upbeat about the future, the band acknowledge that the loss of so much gear and a place to work will delay their plans for 2012. Meanwhile, in the background, BBC/Channel Four diector, Matt Reid, has been putting together a documentary film about the group for release sometime this year.
This is a remarkable band - as hungry and focused as ever, with a continually regenerating audience and insatiable creative ambition.
Army Spc. Eric Haugh, a native of Graham, Wash., assigned to Charlie Troop, 1st Squadron, 40th Cavalry Regiment (Airborne), 4th Infantry Brigade Combat Team (Airborne), 25th Infantry Division, U.S. Army Alaska, ejects a cartridge from his M2010 Enhanced Sniper Rifle on Statler range at Joint Base Elmendorf-Richardson, Alaska, April 6, 2018, during marksmanship training. A sniper's main responsibility is to deliver discriminatory, highly accurate rifle fire against enemy targets that cannot be engaged successfully by the regular rifleman due to range, size, location, fleeting nature, or visibility. (U.S. Air Force photo/Justin Connaher)
Australian soldiers acting as enemy soldier for the U.S Marines from the 31st Marine Expeditionary Unit (MEU) during the combined urban combat training exercise as part of Exercise Talisman Saber 2009 at the Urban Operations Training Facility, Shoalwater Bay Training Area on July 22, 2009 in Rockhampton, Australia.
CAMP BLANDING, Fla. – After a punishing, 72-hour challenge that started with an Army Physical Fitness Test and weapons qualification, continued with warrior skill stations and an air assault obstacle course, and concluded with a 10-mile ruck march and sergeants major appearance board, 12 Army Reserve Soldiers can proudly say they completed the 2017 143d Sustainment Command (Expeditionary) Best Warrior Competition.
Brig. Gen. Deborah L. Army Brig. Gen. Deborah L. Kotulich, commanding general, 143d ESC, personally congratulated the participants during an awards ceremony conducted March 11, 2017, at Camp Blanding, Fla.
“I am thrilled by what you did to get here and impressed by what you accomplished here,” said Kotulich, a career officer who completed Air Assault school while attending West Point and, decades later, earned the German Armed Forces Badge for Military Proficiency. “I encourage everyone to share your experiences with your fellow Soldiers. The skills you demonstrated during this competition may one day save your life or the lives your battle buddies in combat.”
Although all 12 Soldiers received and deserved high praise from the 143d ESC’s senior leadership, only two earned the right to earn the title, “Best Warrior.”
Spc. Alisha Howell, an Orlando, Fla., native serving as a Chemical, Biological, Radiological and Nuclear specialist at Headquarters and Headquarters Company, 143d ESC, won first place in the Soldier category, while Sgt. James A. Smith, a Bay Springs, Miss., native assigned to the 647th Transportation Company as a motor transport operator, took home the trophy in the noncommissioned officer category. Howell and Smith will leave for New Orleans in April to compete at the 377th Theater Sustainment Command level.
“I am confident that these two Soldiers will proudly represent the 143d ESC at the next level,” said Kotulich. “I am also especially honored to be associated with every Soldier here who took precious time from his or her job, school and family to participate and support this annual event. Your courage and commitment exemplify the finest qualities of an Army Reserve Soldier.”
Story by Sgt. John L. Carkeet IV, 143d ESC
Photos by Sgt. John L. Carkeet IV, 143d ESC, and Spc. Aaron Barnes, 321st MI BN
It was a hard fought day by both Army teams, but in the end, the United States Naval Academy came away with both wins. In the Men's game it was Navy 75 Army 66, and in the Women's it was Navy 53 Army 50. The next Army/Navy basketball matchup is scheduled for Feb. 7, in Annapolis, Maryland.
(Photos by Eric Bartelt, Pointer View)
Polish Army Pathfinders of the 6Brygada Powietrznodesantowa im. gen. bryg. Stanisława Sosabowskiego (7 BPD)
Photos: Bartka Bery
Mexican Army special forces' female soldiers during a military parade celebrating the 199th anniversary of Mexico's independence at Zocalo Square in Mexico City, on September 16, 2009.
GRAFENWOEHR, Germany -- British Soldiers based in Fallingbostel, Germany, prepare to conduct a live-fire exercise with a Challenger 2 Tank at the Joint Multinational Training Command's Grafenwoehr Training Area before taking part in Saber Junction here Oct. 15. The mission is part of U.S. Army Europe's exercise Saber Junction which trains U.S. personnel and more than 1800 multinational partners from 18 different nations ensuring multinational interoperability and an agile, ready coalition force.
Russian Army engineers conducting mine clearance of the Citadel of Aleppo – 2017
Photos: Ministry of Defence of the Russian Federation
Barkhane : l’opération Floréal, interdire toute liberté d’action aux groupes armés terroristes
Du 10 au 21 avril 2016, la force Barkhane a mené une opération de contrôle de zone dans la région de Kidal, afin d’accentuer la pression sur les Groupes armés terroristes (GAT) et entraver leur liberté d’action. En s’attaquant à leurs lieux de refuge et de transit, Barkhane affecte durablement leurs capacités de combat dans le Nord Mali.
L’opération baptisée Floréal a mobilisé plus de 300 soldats de la force Barkhane avec pour but de sécuriser cette région essentielle pour le contrôle du Nord Mali, que tentent de déstabiliser les GAT.
Le 12 avril, dans la première phase de l’opération, un Sous-groupement tactique désert (SGTD) en provenance de Gao est arrivé à Kidal, pour rejoindre un autre SGTD qui y menait des actions depuis plusieurs semaines, en coordination avec la MINUSMA. Appuyés par les hélicoptères, les drones et les Rafale du sous-groupement aéromobile, les deux SGTD ont mené des patrouilles dans et autour de Kidal, de jour comme de nuit.
Le 16 avril, un SGTD a effectué une mission de reconnaissance jusqu’à Rharous, où des éléments avaient été héliportés pour surveiller la zone, avant de poursuivre le lendemain en direction de Tin Essako, un village situé à 160 km à l’est de Kidal. Il s’agit là d’un secteur qui constitue un important axe de transit entre le Mali et le Niger, emprunté par les GAT pour étendre leur influence dans la région, en intimidant la population et en menant des actions contre les forces internationales. Pendant plusieurs jours, la force Barkhane y a mené des missions de reconnaissance et de contrôle de zone, avant de retourner à Kidal, où le second SGTD a poursuivi ses actions en parallèle.
Par ce type d’opération, la force Barkhane entend ne laisser aucun répit aux GAT. Elle est en mesure de déployer rapidement un volume de forces conséquent dans n’importe quelle zone pour entraver la liberté d’action des GAT. En s’inscrivant dans la durée, la présence de la force Barkhane dans la région de Kidal a considérablement perturbé l’action et les réseaux des GAT.
L’opération Barkhane compte 3500 militaires dont la mission, en partenariat avec les pays du G5 Sahel, consiste à lutter contre les groupes armées terroristes pouvant agir dans la bande sahélo-saharienne.
Sources : État-major des armées
Droits : Ministère de la défense
TA soldiers on Exercise ROMAN STAR in Italy
TA soldiers from 4 YORKS are in Italy learning how to adapt to the changing nature of conflict. As the Army looks to draw down its forces in Afghanistan and retrain to combat the new security threats facing the world, training is changing to reflect the new demands. The new training exercise with the Italian Army, known as Ex ROMAN STAR, follows this month's Government announcement on troop reductions and a greater reliance on reserve soldiers to integrate with the regular Army. It is the first of a series of new overseas exercises for the reserves who will need to increase their numbers to meet the demands of the Army 2020 structure
Reservists from 4 YORKS are the first to undertake the exercise which trains them to prepare for and execute an attack on a property occupied by enemy forces. The attack includes a helicopter assault with the Italian Army providing the air assets. Building up to this, the troops will learn how to combine conventional warfare and close quarter combat with modern assault techniques, some of which have been developed during operations in Afghanistan; Crown copyright.
The Journey so far.
New Model Army played their first gig in Bradford on October 23rd 1980. Its founding members were Justin Sullivan, Stuart Morrow and Phil Tompkins. The threesome had already been together for a couple of years in a number of Bradford bands with other musicians and singers but in the Autumn of 1980, they decided to form a stripped-down three-piece, their music drawing on a wide collection of influences and fuelled by their passions for Punk Rock and Northern Soul. Within a few months drummer Phil Tomkins had left to be replaced by Rob Waddington. The band slowly built up a local following and created a unique style based on Justin's song-writing and Stuart's virtuosity on lead-bass.
In Summer 1982, whispers about this band reached London and they were invited to perform at a couple of showcases. But in a scene hungry for "the next big thing" (the coming "New Romantics"), NMA's fearsome music and northern style did not win over the Major Record Companies and they returned to Bradford empty-handed. Rob Waddington left to be replaced by Robert Heaton, who had been working as a drum tech and occasional drummer for the band ‘Hawkwind‘. Undeterred by the indifference of the Music Business, NMA began to perform more and more around the country and frequently featured as opening act on a series of all-day concerts at the London Lyceum which heralded many of the "Post-Punk" bands. Although this meant traveling for several hours to play a twenty-five minute set for no money, the band embraced the opportunity and their reputation as a live act grew. A first small-label independent single "Bittersweet" was released in the summer of 1983, followed by "Great Expectations" on Abstract Records that autumn, both played frequently on late night radio by John Peel. Suddenly the band had a "Following", people who would travel to every concert around the country to see them.
Early in 1984, the producer of "The Tube", the most important live music show on TV, had seen NMA in concert and invited them to fill the ‘unknown' slot on the programme. Having originally asked the band to perform their provocative anti-anthem, "Vengeance", the TV Company suddenly got cold feet about the song's lyrics minutes before broadcast and asked the band to change songs. It made no difference. Somehow twenty to thirty followers had managed to get into the TV studio and when NMA began with "Christian Militia" the crowd went wild and an electric atmosphere was transmitted around the country. Suddenly NMA were underground news. Their first mini-album, "Vengeance" knocked "The Smiths" from the top of the Independent Charts and the major record companies, who had rejected them less than two years earlier, were now begging to sign the band.
The autumn of 1984 was a time of political turmoil in Britain. After five years of Mrs Thatcher's right-wing government, which had already fuelled so much of NMA's early fury, a final showdown with the National Union of Mineworkers (the strike that had begun in March and had split the country), entered a critical phase and much of Northern England began to resemble a Police State. NMA's last Independent EP "The Price" also featured "1984" a song written directly about the strike and, with their declared left-wing views, NMA's concerts became increasingly intense.
At the end of the year, NMA signed a contract of "complete artist control" with EMI (which included EMI giving a donation to a miners fund). The move surprised many people but the band were already looking beyond the confines of Britain and considered the deal to be the right one. In the Spring of 1985 the album "No Rest For The Wicked" and the single "No Rest" both reached the national top 40, but this success and now relative financial security had done little to soften NMA's confrontational attitude. They appeared on Top Of The Pops wearing T-shirts with a motif reading "Only Stupid Bastards Use Heroin" (a reaction against the fashionable drug of the time).
Then, halfway through the "No Rest" tour, the day after their hometown gig, Stuart Morrow decided to leave the band for personal reasons. Frantic negotiations were made (by a strange unhappy co-incidence, on the very same day as the Bradford City fire disaster killed 56 people at a football match), but to no avail. As a result, Justin and Robert decided to follow up the success of "No Rest" with an acoustic song from the album "Better Than Them" which had not involved Stuart and accompanied it with three specially recorded acoustic tracks, a move of principle which dumbfounded EMI. By the summer, Stuart had been replaced by 17 year-old Jason 'Moose' Harris, whose first gig was at a benefit for the families of the fire tragedy, and the "No Rest" tour continued.
Thatcher's victory over the miners, and by extension over all organised opposition, marked a new political reality. This, coupled with the shock of Stuarts's departure and increasing media hostility, resulted in the band taking an ever more defiant posture, exemplified by a typically fiery performance at the Glastonbury Festival. Then, despite being signed to Capitol Records in North America, all attempts to tour there were prevented when the band were refused visas. Many people, on both sides of the Atlantic, believed that this was for political reasons although this was never possible to prove. Instead, that autumn NMA set out on their first long tour of the European mainland, which unlike many UK acts, they found much to their liking, and later a trip to Japan. The year ended with yet another UK tour in support of a newly recorded EP: "Brave New World", a savage portrait of the Thatcher's Britain and "RIP", an equally furious study of the band's history thus far.
If 1985 had been a traumatic year, then 1986 saw one of the band's many resurrections, with the legendary Glyn Johns agreeing to produce their third album. Though relations between band and producer were often difficult, Justin recalls the sessions as "the biggest musical learning curve of my life". "The Ghost Of Cain" was well received by the critics and audience and many people began to see a band that were capable of developing and changing and adjusting to new realities while still staying true to their own principles; this was a band that were now pursuing their own musical agenda, completely unmoved by the whims of the music industry or the expectations of fans. Outside Britain, their name was slowly becoming known and in December of 1986, they finally made a first short tour of America.
1987 was a year of full bloom. In January, Justin and Robert recorded an album with the poet Joolz Denby. Joolz had been the band's first manager and has remained as a driving force and responsible for all of the band's artwork from the beginning to the present day. She had previously made spoken word albums and a series of EPs with Jah Wobble but it was inevitable that she would collaborate with NMA. The album "Hex" was recorded at the very special Sawmills Studio, a unique place in Cornwall, only reachable at high tide by boat. Although the studio is now well known, at that time it was infrequently used and accommodation was in primitive cabins deep in the woods. From this new setting, and freed from the pressures of "being New Model Army", Justin and Robert were able to explore all kinds of ideas and musical avenues that their experience with Glyn Johns had opened up. Later, they both considered "Hex" to have been one of the creative highlights of their musical partnership, with its strong, romantic soundscapes acting as the perfect accompaniment to Joolz' poetry.
Much of the writing of "Hex" had been done using samplers and the use of this new tool continued to take the band in unexpected directions. That summer they recorded the "Whitecoats" EP with its ecological lyric and mystical atmosphere. An interest in mysticism and spirituality had been becoming more and more apparent in Justin's lyrics (though this was no surprise to those who knew of his family's Quaker roots). The same summer, Red Sky Coven was born out of a group of friends who shared these interests and ideas. It included Justin, Joolz, singer-songwriter and storyteller Rev Hammer and musician Brett Selby. Together, the foursome decided to create a performance based on this friendship, a unique show which continues to tour on an occasional basis.
1987 also saw plenty more NMA concerts, including Reading Festival, a gig with David Bowie in front of the Reichstag in Berlin and a show-stopping performance at the Bizarre Festival at Lorelei in Germany. From time to time, the band added their friend Ricky Warwick as a second guitarist and also enlisted Mark Feltham, the legendary harmonica player who had graced "The Ghost Of Cain" and "Hex" to join them. At the very end of the year and the beginning of 1988, they returned to the Sawmills for two more inspired writing sessions, which laid the foundations for "Thunder and Consolation".
The following months, though, were far more difficult, while NMA chose a producer, another music legend - Tom Dowd - and set about recording the album. It was a long drawn-out process and relationships between band members became increasingly strained, only really maintained by the knowledge that they were making something truly special. "Thunder and Consolation" was finally released early in 1989, striking a perfect balance between the band's fascinations with rock, folk and soul music and Justin's lyrical interest in spirituality, politics and family relationships. The album brought critical praise and new levels of commercial success and the band toured Europe and North America, joined by Ed Alleyne Johnson playing electric violin and keyboards and Chris Mclaughlin on guitar. However, despite the success, relationships at the heart of the band had not really mended and even after Jason Harris left that summer, stresses remained.
By autumn Justin and Robert were back in the Sawmills working towards another album and, in the new year, they were joined by a new (and still current) bass player, Nelson, previously of a number of East Anglian cult bands, and a new second guitarist, Adrian Portas from Sheffield. The new musicians brought a stronger atmosphere to the touring band while, in the studio, Justin and Robert continued to explore different musical ideas. Partly self-produced, "Impurity" was finally finished and mixed by Pat Collier in the summer of 1990. Still featuring Ed Alleyne Johnson' violin, the album was more eclectic than "Thunder" but continued to win new fans and the world-wide tour that followed its release lasted the best part of a year, culminating in a rolling Festival in Germany involving David Bowie, Midnight Oil, The Pixies and NMA.
In mid-1991, "Raw Melody Men", a live album from the tour, was put together and released. It was to be NMA's last album for EMI. Unusually, given the history of the music business, the relationship between band and record company had always remained cordial but had now simply grown stale. There were minor dissatisfactions on both sides and, after lengthy negotiations, it was agreed to simply terminate the contract. NMA's own Management Company also imploded at this time and new management was drawn up. The band was not short of new record company offers and eventually chose Epic, for reasons to do with support in the US.
Although Mrs Thatcher had been ousted by her own Party in 1990 (a memorable night coinciding with NMA's first visit to Rome), the Conservative monolith that had ruled the country for so long remained in power and, against all expectations, won a further election in 1992. Outside Britain though, much was changed: there was recession and instability and a so-called "New World Order" in the wake of the collapse of Soviet Communism and the 1st Gulf War. Already the band was embarked upon a very dark album, driven equally by personal traumas, including Justin's near-death electrocution on stage in Switzerland and the changes in the world around them. Produced by Niko Bolas and mixed by Bob Clearmountain, "The Love Of Hopeless Causes" was not what anyone was expecting. Just as folk-rock, pioneered and inspired in part by NMA, became a fashionable and commercial sound, the band made a deliberate move away from it and straight and into guitar-driven rock music.
Replacing Adrian with Dave Blomberg on guitar, they embarked on the album tour and the European section featured their most successful concerts yet. However NMA's relationship with their new record company quickly deteriorated. Worse still, they found themselves caught in corporate dispute between London and New York, which was in no way related to them. By June, the band found themselves on an exhaustive US tour, in which they had invested much of their own money, with no support of any kind from Epic or any other source. The tour featured many outstanding concerts but it was a bittersweet experience. By the end of the summer, it had been agreed that there should be a year off for everyone to rest and consider the future, while the contract with Epic was quickly terminated.
Justin used 1993-4 to produce other artists (a second collaboration with Joolz entitled "Weird Sister", Rev Hammer's "Bishop Of Buffalo" album and also the unusual Berlin combo, The Inchtabokatables), tour with Red Sky Coven and create another way of performing NMA songs - in a duo with new guitarist Dave Blomberg. Together they went back to Justin's first love - small club touring - and eventually released an album of the live show entitled "Big Guitars in Little Europe", an album, which has proved enduringly popular. Robert's main wish was to spend more time at home with his family, which he was now able to do and Nelson formed a new band "Nelson's Column" which toured England. Ed Alleyne Johnson followed up his first solo album "The Purple Electric Violin Concerto" which had been so successful with a second entitled "Ultraviolet".
After the year was up, Justin and Robert tentatively began work on a new project and in December 1994, the band (with Dean White on keyboards replacing Ed Alleyne Johnson) reassembled to play a short series of concerts. However, the next two years were lost while Justin and Robert, plagued by ill health and personal-life distractions tried unsuccessfully to pin down hundreds of new musical ideas into an album. It became increasingly obvious to both of them (and everyone else in and around the band) that they were now on very different musical paths. In 1997, Tommy Tee who had been the band's Tour Manager in the 1980s returned to take control of the band's drifting affairs. He enlisted producer Simon Dawson to help finish the project and by the autumn "Strange Brotherhood" was completed. Unsurprisingly, it's an album full to the brim with different and contrasting musical ideas while the lyrics range from the politics of the British Road Protest movement (in which Sullivan had been actively involved during 1996) to the deeply personal and sometimes unusually obscure. During the mixing, it was agreed that Justin and Robert would go their separate ways after the tour.
Then, suddenly Robert was diagnosed as having a brain tumour, and though the operation to remove it was successful, any prospect of touring was impossible. So he suggested that his place be taken by Michael Dean, a young drummer who had been working as his technician since 1993. Having watched Robert for some years, Michael was immediately comfortable with the role of drummer and with all other aspects of the band. The "Strange Brotherhood" tour began in the spring of 1998 and, happy to be back on the road at last, for the first couple of months, the band embarked on an ambitious programme of doing two sets each night, a 50 minute acoustic set followed by a full 90 minute rock. The tour continued on and off through to the end of the year.
By now Justin and Tommy Tee had restructured New Model Army's set-up to take account of the changes that the Internet was bringing to the whole music industry. This included making sure that the band owned every aspect of their work, and included their own record label (Attack Attack) to be distributed by different companies in different territories. 1999 began with a review of live shows recorded the previous year and their amalgamation into a live double album entitled "New Model Army and Nobody Else". After this Justin (assisted by Michael) began to write new songs for the next album. This was done quickly and easily for the first time since "Thunder", with Justin claiming to be "reborn as a song-writer." To keep up the momentum, it was decided to self-produce and to record the album in the band's own studio. Again this was done quickly with mostly Justin, Michael and Dean at the controls. (Living 250 and 300 miles from Bradford meant that Nelson and Dave were more occasional contributors for purely geographical reasons). The whole process was very much a reaction to the slow progress of "Strange Brotherhood", with the album given the simple name "Eight" to go with its whole stripped-down approach. It was released in the Spring of 2000 and was followed by more touring.
On October 23rd 2000, the band celebrated their 20th anniversary by playing another two set marathon at Rock City in Nottingham and then three months later, further special concerts in London and Koln which featured four completely different sets spread over two nights - a 57 song marathon in each city attended by over 7000 people.
One of the legacies of the lost years of the mid 1990s was a lot of unfinished material and next, Justin, Michael and Dean worked to finish and assemble this into accessible form, a double album "Lost Songs" released in 2002. Another ‘unfinished' project was Justin's long promised solo album and it was at this moment that he decided to pursue it. Meant to take just a few weeks to record and tour, "Navigating By The Stars" became another marathon. Hooking up with film and TV music producer, Ty Unwin, the first week of working coincided with ‘9/11'. Rather than making a political or angry response to unfolding events, the album's purpose was to ‘make something beautiful in an increasingly ugly World'. The album came out in 2003 to surprised and favourable reaction. At first touring alone with Dean (including a long awaited return to America), Justin was then joined by Michael playing percussion and the threesome bought a large mobile home and set off across Europe. The live album "Tales of the Road", released in 2004 captures their unique sound and stripped-down rearrangements of some of NMA's lesser known songs.
In 2004, an exhibition of all Joolz' artwork for the band plus collected memorabilia was assembled for a touring exhibition. Entitled ‘One Family, One Tribe' it has been on display in art galleries in Otley, York, Bradford and Hamm in Germany and there are plans for more future showings. Meanwhile, the band work began work on a new NMA album, at first focused around Michael's increasing creativity as a drummer. "Carnival" was recorded with producer Chris Tsangerides and mixed by Nat Chan. It's lyrical subjects and musical roots were as usual very eclectic but included many people's favourite NMA track, "Fireworks Night", Justin's emotional response to the sudden and unexpected death of Robert that Autumn. "Carnival" was released in September 2005, but when it came to the tour, Dave Blomberg was unable to participate for family reasons and his place was taken by Marshall Gill, a blues guitarist from Ashton Under Lyne, completing the band's current line-up in what Sullivan calls “the best version of NMA since 1985”.
The Carnival Tour marked another dynamic new beginning for the band, with Nelson sometimes playing as a second drummer, Dean sometimes as third guitarist and Michael and Marshall's energy much in evidence. Such was the sense of momentum and togetherness that for the first time in years, NMA moved quickly on to making another album with major contributions from all members. "High" was written and recorded in five months at the beginning of 2007, produced by old friend (and another production star, Chris Kimsey) and was ‘angrier' than any releases for a while and lyrically very much in tune with current realities.
The "High" tour rolled through 4 continents with the new line up now firmly in tune with itself and Marshall bringing a tougher edge to the band's sound - even managing to re-arrange the classic violin led anthem "Vagabonds" into a guitar led version. This and 16 other songs were released on a new live album, "Fuck Texas, Sing For Us", in November 2008 (the title taken from a chant at the band's New Orleans show that serves as the intro to the album).
The year ended with tours in Scandinavia, Eastern Europe and the customary December run of London, Paris, Amsterdam, and Koln with the band playing a fiery set of recent material. Remarkably, the band’s main 17 song set featured only two pre-2000 songs, as well as brand new material, a sure sign of the band’s forward momentum - and with their ticket sales up everywhere. Then, at Christmas, manager Tommy Tee died suddenly and unexpectedly. This was a major shock to everyone in and around the band, not only because as he ran all aspects of the band's affairs but also as a major part of the NMA family and history since 1982.
It took a while before the band could refocus but by Spring 2009, they were back in the studio working on their eleventh studio album, “Today Is A Good Day”. Mostly written in the wake of the 2008 Wall Street Collapse (an event celebrated in the white-hot opening title track), it was recorded in the band’s own studio in Bradford with Chris Kimsey once more at the controls. Chris wrote “the NMA 'family business' is back in full swing. The boys sound brave & united.” The album was hailed as one of their very best and the album tour began with a month in North America and went on for a further six months ending with a triumphant return to Glastonbury and other Festivals in the summer.
In the Autumn of 2010, the band celebrated their 30th Anniversary with the release of boxsets, books, DVDs and a full set of retrospective material and set out on the curious and challenging schedule. Promising to play a minimum of four songs from each of their 13 albums (including the two B-sides compilations) over two nights, they performed this marathon in different cities on four continents every weekend from September until Christmas. The final weekend in London was recorded and released in full as a five hour DVD.
After such a hectic year, 2011 was always going to be relatively quiet with the band concentrating on writing material for their next project. Consciously looking for something new after two convincing great rock band recorded live in a studio albums. this is a work in progress interrupted only by a handful of full band shows and rather more of the semi-acoustic Justin and Dean duo concerts. But then, as the year ended, disaster once again struck with a fire, started in the next door furniture outlet, raging through the band's Bradford base destroying pretty their whole studio set-up. No one was injured and the band have remarkably been able to salvage some of their touring gear from inside flight-cases. However, while remaining characteristically upbeat about the future, the band acknowledge that the loss of so much gear and a place to work will delay their plans for 2012. Meanwhile, in the background, BBC/Channel Four diector, Matt Reid, has been putting together a documentary film about the group for release sometime this year.
This is a remarkable band - as hungry and focused as ever, with a continually regenerating audience and insatiable creative ambition.
Turkish Army Commandos providing VIP Security the Turkish Presidents wife Emine Erdoğan visited Uludere villige close to the Syrian Border - March 2012
In this Saturday, Feb. 18, 2012 photo, a Pakistani Army soldier with the 20th Lancers Armored Regiment, makes his way to his position atop the 8000-foot mountain near his outpost, Kalpani Base, in Pakistan's Dir province on the Pakistan-Afghan border. Kalpani is on the front line in the 10-year war against militant Islamists, a war which allies Pakistan with the U.S. and NATO in an uneasy, distrustful partnership. Pakistan feels scapegoated for the coalition's failures in Afghanistan. At the same time it's accused of playing a double game, fighting the militants it chooses to fight while giving others safe havens and logistical support for their actions in Afghanistan.
(AP Photo/Anja Niedringhaus)
Pakistani troops feel West undervalues their war
KALPANI BASE, Pakistan (AP) -- The wind was howling and the snow outside their bullet-pocked bunker lay knee-deep as the men of the 20th Lancer armored regiment bedded down for the night, nearly 2,500 meters (8,000 feet) up a mountain on one of the world's most inhospitable borders.
Pakistan has lost more than 3,000 soldiers in battles with Taliban since it deployed soldiers to its western border, more than all the foreign deaths in Afghanistan since 2001. Although it sees India to its east as its biggest military challenge, it regards its Afghan flank to the west as critical enough to warrant stationing 130,000 soldiers there.
The base called Kalpani is on the front line in the 10-year war against militant Islamists, a war that allies Pakistan with the U.S. and NATO in an uneasy, distrustful partnership. Pakistan feels scapegoated for the coalition's failures in Afghanistan. At the same time it is accused of playing a double game, fighting the militants it chooses to fight while giving others haven and logistical support for their actions in Afghanistan.
Last month the army took an unprecedented step, allowing an Associated Press writer and photographer to follow Pakistani troops on their front-line rounds for a glimpse inside its fight against militants in the Afghanistan-Pakistan theater.
Read more here: blogs.sacbee.com/photos/2012/03/pakistani-troops-feel-wes...
U.S. Army Trooper assigned to 2nd Squadron, 14th Calvary Regiment, 2nd Infantry Brigade Combat Team, 25th Infantry Division scans the battlefield during a Combined Arms Live Fire Exercise (CALFEX) at Pohakuloa Training Area, Hawaii, May 15, 2018. The CALFEX utilizes all the enablers available to the unit in order to increase interoperability, concentrate combat power and mass effects on the objective. (U.S. Army photo by 1st Lt. Ryan DeBooy)
When I went to the lake to shoot the wake boarding contest, these trucks were parked there. They were recruiting for the Army.
Ex LION STAR
Soldiers from 6Rifles during Exercise Lion Star in Cyprus – June 2013
MOD/Crown copyright 2013
A British Soldier enjoys some downtime at Grafenwoehr Training Area, Germany on October 17, during U.S. Army in Europe's exercise Saber Junction 2012. Saber Junction is a large-scale, joint, multinational, military training event with U.S. Soldiers and more than 1,800 multinational forces.
U.S. soldier Nicholas Dickhut from 5-20 infantry Regiment attached to 82nd Airborne points his rifle at a doorway after coming under fire by the Taliban while on patrol in Zharay district in Kandahar province, southern Afghanistan April 26, 2012.
A German soldier with the International Security Assistance Force German Operational Mentor and Liaison Team Six walks the streets of Mazar-e-Sharif during a patrol with the 2nd Kandak, 1st Brigade, 209th Corps, Afghan National Army, Feb. 11.
Posed image of a soldier with the 2nd Battalion, The Royal Highland Fusiliers in Afghanistan wearing full combat dress.
Models the standard kit worn by a British serviceman, serving in Helmand Province Afghanistan.
KIT: (Top to bottom)
-Mark 7 Combat Helmet with Multi-Terrain Pattern (MTP) helmet cover.
-Helmet Mounted Night Vision System (HMNVS)
-ESS ballistic eye protection.
-MTP Under Body Armour Combat Shirt (UBACS)
-Mark4 Osprey Body Armour with medical pouch (left) ammunition pouch (right), admin pouch (front) and MTP cover.
-Personal Role Radio (PRR).
-SA80 A2 Small Arms Weapon System, with Advanced -Optical Gun Sight (ACOG) and Underslung Grenade Launcher (UGL).
-Tier 2 Pelvic Protection, Tier 1 pelvic protection worn underneath trousers.
-MTP trousers
-Black Hawk Knee Pads.
-LOWA combat boots.