A deft piece of sarcasm, but I stand by my comment. Award winning or not, it's a heavy-handed piece of obviousness that should not have been needed.

I thought I'd given up on the Coens - once my favourite film-makers - after the smug, loathsome Lewyn Davis (I'm not even going to bother spell-checking that) and the empty, brainless Hail Caesar, but I'll admit….I'm intrigued by this. It looks like Tim Burton doing Blood Simple.

"its seemingly unrelated closing monologue"???? Seriously??? This is the most leaden, cack-handed, "THIS IS WHAT THE MOVIE'S BEEN ABOUT, PEOPLE!!!" bit of dialogue I think I've ever had the pain to sit through, and the beginning, in my eyes, of the Coen Brothers' fall from grace.

I'm so jealous that you got to see and meet him! He seems to only crop up over in the UK at Xmas, doing tours in a nostalgic light. I've always been saddened that, for someone who was such a songwriting powerhouse in the 60s and early 70s, he seems to have ground to a halt in the last 20 - 30 years.

No, it definitely makes sense. When I first got it I was playing "In Old England Town" in my room when my older sister came in, recoiled in horror and with a look of sheer disdain on her face said, "WHAT is THIS?". I love the way that "From the Sun to the World" goes, at one point, from gentle, french horn-led adagio…

The piano solo on Van der Graaf Generator's "Afterwards". It was more of a Hammill solo album, but the band all joined in and in the end they released it as a band album. It starts out stately and simple and then begins to speed up until is sounds as if it might burst into flames, before pulling itself back to join…

As a Genesis fan of old, I always thought he was capable of much more than he actually produced - it often sounded too restrained and polite, and he never cut loose like Wakeman or Emerson could. Unfortunately, I saw him in that documentary they did recently in which they got them all together in the same room and he…

Again, uncool, but towards the end of "The Words of Aaron" by the Move, Roy Wood lets loose with….what sounds like a recorder solo. I mean, I always thought it was but, from your article on California Dreamin' I guess it could have been an alto flute. Wood - who could play just about any instrument under the sun…

I think you may have beaten me - I've risked ridicule by casting my vote for the same thing. What a heart-searing piece that is!

It helps that he's playing a straightforward organ, if you'll pardon the expression, and not doodling about on his thin-sounding, squeaky polymoogs, as he was wont to do in later years. There's something satisfyingly visceral about the sound of an organ that got lost in the later years of prog.

That is a truly astonishing passage, and I think there's a lot at play here: Squire's simple but thunderous bass and Bruford's solid but weirdly off-kilter drums really propel this one out into the stratosphere. 40 years on and I still get goosebumps when it gets to that bit!

I know, I know but - believe me - their first two albums, maybe even their first three, are a world away from the homogenized pap of their later stuff. There was a really quite vigorous interplay of the classical and rock instruments, a weird juxtaposition that makes it sound surprisingly raw. I gave up on them…

This is totally uncool, but I just relistened to the album recently, so….

Well, kudos for the King Crimson, anyway.

I just remember it used the same desert locations as the TV series of Logan's Run, from about the same time, and even some episodes of Star Trek, if I recall correctly.

This actually makes me want to see all the films again, no mean feat. I was always of the opinion that, after the stone-cold classic that was the original, that the series got cheaper and more derivative, but this has made me think again. I actually saw "Conquest…" in the cinemas when it came out and, despite my…

"a hodgepodge of arthouse references, arch distancing effects, and emotionally vacant wide-screen compositions".

I've been desperately trying to get into the new release by UK singer/songwriter Thea Gilmore, "The Counterweight". I've been a fan for years, and this is the album she promised to address the events of 2016, but….well, as I spent 2016 seemingly lurching from grief to shock and to despair, it sounds like she's been…

The trio of albums that King Crimson made after reforming in 1972, with Bill Buford and John Wetton at its core are stunning, and sound very, very much as if they're born out of some sort of musical collaboration, some tracks even sounding as if they're coming from improvisations and catching fire, complete with…

"Salt in My Tears" by Martin Briley - a rifftastic, gloriously snide song of liberation, although the video is pretty crass in an 80s way, with hints of misogyny and gay stereotypes.