John Hurt has said that he had long been reluctant to reprise the part that made him famous - that of gay raconteur Quentin Crisp in Jack Gold’s 1975 biopic The Naked Civil Servant - that he preferred “to let sleeping dogs lie”. The dogs in this case were presumably those who might bark about cherished memories of such an iconic television drama being sullied by a potentially inferior sequel. To some it must have been seemed as if John Cleese had suddenly announced that he was going to write a new series of Fawlty Towers. Tantalising but horrifying at the same time.
Prior to hooking up with Jack White in The Raconteurs, Brendan Benson was a classic case of a cult artist in search of an audience – which is to say, a small coterie of fans treasured his recordings of polite, learned pop, which steadfastly refused to reach a commercial tipping-point.
The man who was a key player in bringing South Africa's bitter political rivals together tells Gerard Gilbert how a new TV drama captures the tension of the apartheid era
The Foo Fighters are one of the biggest rock bands in the world now, and I still struggle to see why. This first headlining gig at Wembley, and last album Echoes, Silence, Patience & Grace's debut in the UK charts at No 1, confirm their conquest here. But it has been a traceless rise, leaving few truly memorable songs or moments. All that lingers, as with tonight's show, is the fiercely grinning good humour and heart of Dave Grohl. The cliché that he is the nicest man in rock seems true, an honourable thing after his last band Nirvana's end. But musically, that means nothing.