Ipswich Town 0 Cheltenham Town 0

February 24, 2022June 27, 2022 / martinpbrooks / Leave a comment

It’s been a while since I’ve been to watch the Town at Portman Road, having forgone the last six matches thanks to the pandemic. But it’s been a lot longer since I last saw Cheltenham Town play (7^th September 2002 at Layer Road, Colchester to be precise), and it’s a lot longer still since Cheltenham Town played at Portman Road (19^th March 1938 in the Southern League). Add to the weight of history the fact that because I am not in my nineties, I have never seen Ipswich Town play Cheltenham Town at Portman Road, and you have the recipe for an evening of excitement to rival that of the last match I saw live, Town versus Barrow in the FA Cup, a truly awful goalless draw as I recall. On days like this I don’t miss the Championship one little bit. What’s being in the third division for if it’s not for playing the likes of Cheltenham Town? Live for the moment and breathe as deep as you dare.

Rocking up on Anglesea Road at twenty-seven minutes to seven, I park my trusty Citroen C3 on a single yellow line and head for what I call the Arboretum pub, but the current occupiers label the Arbor House. Eight minutes later I have hurried as quickly as I could through the bar, pausing only to mumble a request for a pint of Lacon’s ‘Jack Valentine’ (£3.80) through my face mask, and now I sit in the peace, solitude and creeping cold of the softly lit beer garden. Amusing myself with the wonders accessible on my mobile phone I sip my beer and get into the funky groove of the righteous soul music climbing out of the plastic speaker in the corner of the garden shelter in which I’m sat. If I didn’t know I was in Ipswich I’d think I was in 1970’s Harlem as the sounds of Sir Joe Quatermain and Free Soul ((I got) so much trouble in my mind (1973)); Smokey Robinson (Baby that’s backatcha (1975)) and the Bobby “Blue” Band (Ain’t no love in the heart of the city (1974)) move my feet and my boogie body. Beginning to feel like I’ve stepped back in time and looking forward to seeing the likes of Ian Collard, David Johnson and Colin Harper at Portman Road tonight I suddenly return to the now with the realisation that for £3.80 I could probably have bought everyone in the pub a drink or may be two in 1973, although I would have been a tad underage to have done so.

Leaving my reverie in the pub garden I head for Portman Road, my heart leaping a little as I catch a first glimpse of the glare of the floodlights in the night sky. I approach the ground along Alderman Road to manufacture that ‘going to the match’ down terraced streets feel. In the back of the Sir Bobby Robson (North) stand supporters already in the ground appears as silhouettes on the stairs and through the plate glass windows of the concourse. Having purchased nothing with coins of the realm for over a month I recklessly buy both a programme (£3.50) and a Turnstile Blue fanzine (£1). I walk between the rows of fumy supporters’ buses lined up opposite the old tram depot and approach the Sir Alf Ramsey stand from the Constantine Road gate, eventually returning to Portman Road through turnstile number 60. I’m back.

In the stand I reacquaint myself with Pat from Clacton and ever-present Phil who never missed a game until he caught Covid; they’ve missed me, or at least that’s what they tell me; they’re nice like that. With seconds to go before kick-off Fiona arrives too and I say hello to the man who sits to my right, who I always imagine is older than me, but possibly isn’t. The game begins; Town getting first go with the ball, but I am quickly struck by how disappointed I am by Cheltenham’s kit. In my mind’s eye, a phrase that reminds me of my favourite Small Faces song, I see Cheltenham Town in red and white stripes, but tonight they sport a sort of knock-off Arsenal shirt with pinstripes and a Raglan sleeve. The Raglan sleeve incidentally is the least desirable of all the sleeves for use on a football shirt.

Aside from the shirts, the football is fast and frantic, with Wes Burns uncontrollably shooting over the cross bar from close range after five minutes, and Bersant Celina making a weaving run before dipping the ball over the cross bar not five minutes later as Town confidently dominate their sartorial inferiors. The ostentatiously bald-headed referee, Mr Andy Davies, unexpectedly makes me think of the similarly hairless, on-loan St Etienne goalkeeper Paul Bernadoni, before a man behind me with a slightly Northern or Midlands accent annoys with a laugh that sounds like Disney’s Goofy. “Unlucky, unlucky, unlucky; keep going, keep going, keep going” says an oddly repetitive woman from behind as another Town attack comes to nought and the Sir Bobby Robson Stand show signs of life, breaking into Boney M’s “Mary’s Boy Child”, to sing as ever of ceaseless fighting despite Norwich having run away, and all apparently and mysteriously because of Boxing Day. High up in the Cobbold Stand the Cheltenham followers reveal a lack of originality matched only by their lack of memory as they chant “We forgot, we forgot we forgot that you were here” to the tune of Cwm Rhondda. With my attention back on the pitch, I can’t help but guffaw as Cheltenham’s Reece Hutchinson hurls himself headlong to the ground in a wonderfully unconvincing attempt to cheat his way to a free-kick. What was I thinking, staying away to avoid Covid when I could have been a part of this rich tapestry?

Ipswich’s dominance is total and is such that two of our three defenders, Janoi Donacien and Luke Woolfenden are seen exchanging forward passes within twenty-five metres of the Cheltenham goal. Then a deep, angled Tommy Carroll cross is met with a diving header from Conor Chaplin, only for Cheltenham goalkeeper Owen Evans to palm the ball away in front of Bersant Celina, who is taken too much by surprise to attempt to kick the ball back at the goal. I’m just thinking how we haven’t been able to exploit Kayden Jackson’s ability to run very fast, when he suddenly breaks down the left, but when he comes to cross the ball he seems to have become over excited and at the far post the ball skids off the forehead of Conor Chaplin at such speed that it must have caused a friction burn. It somehow feels as if everyone is just a bit too eager, but out of the blue at the North Stand end Christian Walton fails to clear the ball successfully and his scuffed effort falls to a Cheltenham’s theatrically named Elliott Bonds, but fortunately Bonds’ left footed shot sails hopelessly high above the goal.

Town’s onslaught resumes and Cheltenham show the first sign of resorting to non-footballing tactics to relieve the pressure. “Oh, get up you wanker” says a polite sounding woman behind me as a red-shirted defender lays prostrate on the turf following a gentle collision with another bloke in a football shirt. “Shall we sing, shall we sing, shall we sing a song for you?” chant the Cheltonians predictably in a quiet moment, and equally predictably no one responds. Kayden Jackson delivers a slightly limp shot into the arms of Owen Evans and with the first half half-over, Town win their first corner, from which Tommy Carroll shoots impressively wide to the extent that the ball arcs away from the goal and stays on the pitch; Bersant Celina spots the unlikely trajectory and crosses the ball back into the ‘mixer’ but there’s no happy end to the incident.

The second half of the first half plays out in a succession of Town corners and missed goal attempts. Much of the first half football has been as exciting as it’s ever been at Portman Road in the past twenty years, but the plain truth is there has been no one to put the ball in the net. As the half draws to a close Wes Burns turns to lash the ball back into the area in front of the goal from the by-line, but the ball strikes Hutchinson’s outstretched arm or possibly arms; VAR would doubtless have recorded the crime but instead Town are awarded another corner from which Luke Woolfenden deftly diverts a graceful header very precisely over the cross bar.

With the half-time whistle the Cheltenham players jog hastily and as one from the pitch, as if someone had just said “last one back in the changing room’s a sissy”. By contrast Town’s players seem either less enthused, or just less sensitive to childish name calling. It seems more likely they are lost in thought, grappling to understand how they are not two or three goals up. Forgetting about football for a bit I pop down to the front of the stand to talk to Ray, his grandson Harrison and Harrison’s dad. Behind us stadium announcer and former BBC Radio Suffolk presenter Stephen Foster hands over his microphone to comedian and TV personality Omid Djalili, but sadly his words are completely scrambled by the hopeless public address system. Meanwhile Harrison’s dad offers me what the Tim Horton’s website enticingly describes as a ‘mini donut style cake ball’. I am warned that it will probably taste of maple syrup; but contrarily it tastes of cinnamon. Whilst not ungrateful, and happy to ingest either cinnamon or maple syrup flavoured foodstuffs I am happy not to be offered another.

Cheltenham Town kick-off the second half by lumping the ball down field in the traditional manner. Town soon get back to winning corners, but with much less frequency than before and somehow the speed and excitement of the first half has departed, leaving in its place mis-directed passes and an unsporting belief amongst the Cheltenham team that they could break away and score a goal of their own. I remain full of hope, but either Town have lost their mojo or Cheltenham have worked us out. The game descends into more of a battle with half an hour to go as Cheltenham’s Charlie Colcutt becomes the first player to enter Mr Davies’ address book for a heinous foul on Wes Burns and then the substitutions begin with Kane Vincent-Young replacing Dominic Thompson and the oddly named Macauley Bonne appearing in lieu of Kayden Jackson. Cheltenham stopper Lewis Freestone is next to have his name etched in copper plate in baldy-Davies’s book as ten minutes later the Cheltenham number six ruthlessly chops down Conor Chaplin.

One bright spot in the second half is the announcement of the night’s attendance of 21,318, of whom 251 are supporting Cheltenham. Pat from Clacton announces to Fiona and I that the winner of the Clacton supporters’ coach guess the crowd competition is the squirrel that steals the food from the bird table in her garden. I explain to Fiona that squirrels are very clever animals, but I didn’t know they enjoyed coach travel.

Following speed, excitement and accurate passing, enjoyment now leaves the game as Callum Wright of Cheltenham hangs about too long in a prone position on the turf and draws the vitriol of the Sir Bobby Robson stand for his trouble. “Wanker, Wanker!” roar the lower tier to Wright’s bemusement as he is soon substituted with Aaron Ramsey. “How could they tell?” he must be wondering to himself as he looks for hairs on the palms of his hands. Time is running out and in desperation a chant of “Come On You Blues!” is sent out into the ever more chilly night air. But the chant is only repeated twice more, almost as if everybody feels a bit self-conscious about shouting for any longer than that.

The final ten minutes are miserable as Cheltenham players spend an unusual amount of time apparently suffering from cramp, something that I thought only happened in extra time in Wembley Cup finals. Sadly, the ever-unresourceful Town fans can only think of chanting “Boring Boring, Cheltenham” rather than urging on their own team to victory by turning Portman Road into a frightening cauldron of noise. Cheltenham do waste time, but what professional football team doesn’t when they are close to claiming a hoped for but not necessarily expected away point?

“Come on Ipswich, score in the final second” I say to creation as the sixth minute of added on time ebbs away. But the final whistle blows, and it feels a bit like we’ve lost. That’s the trouble with expectation, especially when you’ve not had any for a while. Not to worry, I think I’ll still be back again next time.

Ipswich Town 5 ABBA 5

May 28, 2021October 26, 2021 / martinpbrooks / Leave a comment

The football season is over save for the silly play-offs, and now it’s the height of Spring, and with little else to occupy him a young man’s fancy lightly turns to thoughts of the Eurovision Song Contest; or maybe not. But last week’s transmission of the bizarre, annual , musical television ritual extravaganza was inevitably accompanied by the airing of a clip show on BBC4 of past performances by the competition’s only notable success, Abba. I have never bought, stolen, borrowed or owned an Abba record, tape, download or CD, but I will admit to being unable to suppress a smile when I hear one played. Equally, I couldn’t resist watching that clip show and felt rewarded when it brought back memories of a road trip I made in the summer of 1995, which took me and my then girlfriend via Parkeston Quay, DFDS Seaways ferry, Gothenburg, Stockholm, Uppsala and Sundsvall to Pitea in northern Sweden, where we stayed with my girlfriend’s pen friend and her husband. It was a very long drive for which the soundtrack for several stages of the journey came courtesy of a CD of Abba Gold belonging to my girlfriend.

The experience of listening to Abba on that road trip has stayed with me and it led to an article in the erstwhile Ipswich Town fanzine A Load of Cobbolds. Now, in the spirit of nostalgia inspired by the fortieth anniversary of Ipswich Town’s UEFA Cup win and in the absence of anything better to do I have reproduced that article below, updating it to modern times where necessary:

When you’re an eleven or twelve year-old football and pop music loom large as pre-pubescent priorities. I bought my first record (Happy Christmas (War Is Over) by John Lennon & Yoko Ono) in 1971, the same year that I started watching Ipswich Town, and I soon began to feel that footie and pop music were somehow inextricably linked. The late Sixties and early Seventies was a time when it was easy to confuse footballers with pop stars and my two worlds satisfyingly collided. The fashion for any bloke who aspired to being hip and trendy was an enormous thatch of hair coupled with equally vast sideburns. Squeezed into a pair of bollock-hugging, crushed-velvet flairs and sporting a deafeningly loud shirt, Ian Collard or Rod Belfitt might have been members of The Hollies, or Kevin Beattie a member of Nazareth.

The similarities in the appearance of pop stars and footballers subsided a bit as the Seventies wore on and sadly, sartorially Punk Rock never seemed to catch on with any footballers at all. There were however still some startling lookalikes within the ranks of the PFA, I thought. It could have just been my addled perception, but I always felt that Arsenal’s Frank Stapleton and Shakin’ Stevens were the same bloke. Moving on into the 1980’s the separation at birth of Oldham Athletic’s Andy Ritchie and Jimmy Somerville was ‘well documented’ at the time, but less well-known is the fact that Roy Keane and Sinead O’Connor were also twins.

More amazing than these superficial similarities, which admittedly are largely the invention of my fevered imagination, is the very precise correlation between the success of one particular football club during the 1970’s and early 1980’s and a particular pop group. Both were at their peak between 1973 and 1982. The football club of course was Ipswich Town and the pop group was Abba.

If you take time to trawl through the collected works of the famous Swedish songsters, as Dave Allard might have called them, you will not only enjoy a richly rewarding aural experience, but you will soon reach the conclusion that the fact that Town and Abba were both at the peak of their powers over precisely the same period of time is no coincidence. Listen carefully to the lyrics and you will be able to trace the history of the Town’s success through that glorious era. You will find that listening to Abba Gold (Greatest Hits) is as close to a religious experience as you can hope to get; something akin to an Ipswich Town Dreamtime, harking back to an epoch when Portman Road was inhabited by ancestral figures of heroic proportions who possessed supernatural powers. In the film Muriel’s Wedding the eponymous Muriel says that Abba’s songs are better than real life. Now, as we sit in the murky depths of the third division and look back at Town’s glorious past you too will believe this is true.

As you might expect from Europe’s foremost supergroup many of the songs make reference to Town’s European campaigns of that era in the UEFA and European Cup Winners’ cups. It is likely that it was through Town’s exploits on the continent that the talented Swedes first became Town supporters, although we were actually only drawn against Swedish opposition once when in 1977 we met Landskrona Bois and most inconveniently The Stranglers played the Ipswich Gaumont on the very same night as the home leg. Naturally, I missed The Stranglers concert and sadly never got a second opportunity to see them. There is clearly a reference to Town’s UEFA Cup triumph over Lazio in the title of the number one hit ‘Mamma Mia!’, a song which also contains a lyric that suggests one of Abba had perhaps had a brief flirtation with a Town player or supporter and may explain the uncanny connection between Abba and the mighty Blues;

“Yes, I’ve been broken hearted, Blue since the day we parted.”

The moving ballad ‘Fernando’ is sung to an imaginary Spanish fan and recalls those sultry September and cooler autumn evenings when we entertained Iberian opposition from Real Madrid, Las Palmas and Barcelona.

“There was something in the air that night, the stars were bright, Fernando….

Though we never thought that we could lose, there’s no regrets. If I had to do the same again I would, my friend Fernando”

That last line referred to the fact that Town were twice drawn to play Barcelona, whilst the line before that refers to our having lost both ties despite being confident after winning the first leg. Another song, ‘Super Trouper’, whilst still referencing games played under floodlight, perhaps because of the lack of daylight hours in Sweden during the English football season, refers to an individual player and employs little-known Swedish rhyming slang in a thinly disguised paean to goalkeeper Paul Cooper.

“Super Trouper lights are gonna find me shining like the sun, Smiling having fun feeling like a number one”

In the 1978 Abba hit “Take a chance on me” the subtle Swedish Blues fans reveal the little known story of how Frans Thijssen successfully pleaded with Bobby Robson to let him join his compatriot Arnold Muhren at Portman Road and to try his luck in English football.

“Honey I’m still free, take a chance on me. If you need me let me know and I’ll be around. Gonna do my very best and it ain’t no lie, if you put me to the test, if you let me try”.

Although those days were such wonderful times for Town, not every song described a happy or uplifting event. There were sad days too at Portman Road back in the Seventies and hard decisions had to be made for the good of the team. The 1977 ‘Number One’ hit ‘Knowing Me, Knowing You’ was about the departure of former Portman Road favourite David Johnson, the one-time ‘King of Portman Road’, who left Town to join rivals Liverpool. In the song, the reflective Scouser looks back on the good times he has had at Portman Road since his move to Town from Everton four years earlier.

“Memories, good days, bad days, they’ll be with me, always”.

David appreciates however that his recent form has not been good and in the circumstances a move is the best thing for everyone.

“Knowing me, knowing you, there is nothing we can do, we just have to face it this time we’re through; Breaking up is never easy I know but I had to go, Knowing me, knowing you it’s the best I could do”.

Back in the Seventies, money wasn’t the driving force in football that it is today. Nevertheless, the spending power of clubs such as Manchester United, who were able to make expensive signings virtually every season despite being rubbish, rankled with Bobby Robson and he longed to be able to make big signings for Town. Abba’s “Money, Money, Money” was a song about his frustration.

“In my dreams I have a plan, if I got me a wealthy man… “

”All the things I could do if I had a little money…”

“Money, money, money, always sunny in a rich man’s world”

Both ‘Knowing Me, Knowing You’ and ‘Money, Money, Money’ showed something of the downside of those glory years and as we look back on those days from the fag-end of the first quarter of the miserable twenty-first century a melancholy aura pervades our memories, in part because ultimately Town failed to win the League Championship that we deserved, but perhaps also because even at the time we knew it all had to end one day, and when Bobby Robson left to manage England in 1982 we secretly knew it had. Abba knew it too and two of their hits put these feelings in to sharp perspective. The haunting melody of ‘Winner takes it all’ explores the pain that looking back on the good times would bring; it begins:

“I don’t want to talk about things we’ve gone through, though it’s hurting me now it’s history”

Abba’s last big hit ‘Thank you for the music’ is sung from the perspective of our legendary club captain Mick Mills who reminisces, having regretfully left Town for Southampton, about the joy and beauty of those days between 1973 and 1982. If you’ve listened to the slightly dull monotone of Mick’s summaries as he sits alongside commentator Brenner Woolley on BBC Radio Suffolk, you will appreciate the opening lines to this song;

“I’m nothing special in fact I’m a bit of a bore, If I tell a joke, you’ve probably heard it before…”

But Mick’s talent was as full-back and captain of the greatest Ipswich Town side ever and this was the ‘music’ referred to in the title of this most moving of Abba songs. This was a song from the heart of ‘Mr Ipswich Town’, Mick Mills, and it is truly uncanny how Mick with his blond locks and luxurious facial hair even looks like a bit like a composite of Bjorn Ulvaeus and Benny Anderson the song’s composers. This song is the ultimate celebration of those ten seasons at the top in which Mick thanks fate for the glorious hand he was dealt.

“I’ve been so lucky, I am the girl with golden hair

I want to sing it out to everybody

What a joy, what a life, what a chance

So I say Thank You for the music

The songs I’m singing

Thank you for the joy they’re bringing…”

The songs of Abba define and encapsulate a golden period in the story of the twentieth century and the time before Thatcherism and neo-liberalism destroyed your innocence. Abba’s songs, their success and the glory of Ipswich Town, the nicest professional football club the world had ever known did not happen together by coincidence. The proof is in the lyrics of the songs, and shows that cosmic forces were at work. Those of us who lived through the 1970’s were truly blessed to have experienced the music of Abba as it happened, but we are doubly blessed to have been Ipswich Town supporters too.

Thank you for the music Bobby Robson and Mick and all the lads who played for us between 1973 and 1982 , and thank you for the music Agnetha Faltskog, Benny Anderson, Bjorn Ulvaeus and Anni-Frid Lyngstad.