text:
Singin' With the Band
Ethan Johns Brings Tom Jones Back to His Roots
By Matt Hurwitz // Photos by Mark Woodward
The live setup at The Distillery, with Jones facing the band, no headphones. Producer Ethan Johns is on guitar, with his back to the camera; Jeremy Stacey on drums, Andy Fairweather-Low on guitar, Ian Jennings on bass.
Remember what it was like when you were a kid, how much fun you'd have when you started making music with your mates?" asks producer Ethan Johns. "Just the four of you, sitting around, playing live and making music. That's what this is."
"This" is Long Lost Suitcase, the third in a series of albums Johns has produced for legendary singer Tom Jones, following the acclaimed Praise & Blame (2010) and Spirit in the Room (2012). The disc, released by S-Curve Records in October 2015, follows the same winning formula as its predecessors: putting the singer in a studio with top musicians and letting him do what he did in the beginning of his career—sing live with a great band.
"Ethan knew that I started with a small band in Wales when I used to play the pubs and clubs—a rhythm section, and that was it," Jones explains. "I knew some of the things he had done, with Ray Lamontagne, The Kings of Leon and Ryan Adams. I asked him what he had in mind, and he said, 'I'd like to get you into a studio with very few musicians and just get to the essence of your voice,' which he felt hadn't been done before."
"To get the opportunity to put a microphone in front of a singer like Tom, who's lived the kind of life he has lived and the experiences he can put into delivering a lyric, with that voice, that was just too good an opportunity to miss," Johns says.
All three albums were recorded by engineer Dominic Monks, whom Johns had met at Peter Gabriel's Real World Studios in 2007 while mixing Crowded House's Time On Earth. "I was working in a very small control room, struggling to get a decent sound, so I gave Dom a crack at it," Johns recalls. "I had spent three or four days at it, and he got a staggering sound in about 15 minutes. He walked in, 24 years old, and didn't even bat an eyelid. So I was, like, 'Right, do you fancy coming and working with me?' By that point, I'd engineered almost every record I'd ever made, and I really wanted to take on an apprentice, to work with someone young to whom I could pass on what I'd learned from my dad." Their first project together was Ray LaMontagne's Grammy-nominated Gossip in the Grain in 2008, and they have been working together ever since.
While the first two albums were recorded at Real World, Suitcase was tracked, mostly, at The Distillery in Somerset, a studio built by musician Sam Dyson initially to record his own band, The Chemists. Designed by Neil Grant (who also designed Real World), The Distillery boasts a fine mic collection, tape machine and a live room with a stone floor mezzanine. While the studio houses a Neve 8036, Suitcase was recorded through a Universal Audio 610 console built originally for Frank Sinatra's home studio by Bill Putnam. "We ran Tom's vocals through that," says Monks. "It's the most extraordinary sounding bit of gear I think I've ever faded up."
Engineer Dominic Monks setting up one of only a few drum mics with drummer Jeremy Stacey.
Suitcase was tracked to an Otari MTR-90 analog deck, using ATR Magnetics tape at 15 ips. "Sixteen tracks is fine for us," Monks explains. "When you only have three or four mics on a drum kit, and a small band, that's plenty of space. And a wider track means less noise and a richer sound all around."
Song suggestions came mostly from Johns, Jones himself and Jones's son, Mark Woodward, who works closely with his father. The main criteria was that they resonated with Jones. "Ethan knew I love gospel, country and blues," says Jones, "so that's what we did." The resultant list included, among others, Willie Nelson's "Opportunity to Cry," Little Willie John's "Take My Love (I Want to Give It)," Los Lobos' "Everybody Loves a Train," the spiritual "He Was a Friend of Mine," Henry Russell's "Tomorrow Night," The Rolling Stones' "Factory Girl" and Hank Wiliams' "Why Don't You Love Me Like You Used To Do."
"When I learn a song, I can actually see the story," Jones explains. "On 'Everybody Loves a Train,' for example, I see the concrete platforms and the people. Where are these people going? I put myself in the story of the song. I'm living it as I'm singing it. And I'm seeing it. Every song is like a mini movie to me. If I'm not seeing it, I can't expect other people to."
"Tom can sell you anything," Monks smiles. "He actually used to be a vacuum cleaner salesman, door to door. And I'm sure he sold a lot of them."
Bring in the Band
Johns assembled a core group of topflight musicians to back Jones for three separate five-day sessions in 2013: the last week in March, last week in June and first week in November, recording 11, nine and nine songs, respectively.
Besides the talented Johns on guitar and other instruments, the producer brought in guitarist Andy Fairweather-Low, an old friend, it turns out, to both he and Jones. "We both come from South Wales," the singer notes. "I used to see him playing in London at the same time I was, with his band, The Amen Corner. And Andy was friends with Ethan's father, Glyn—he remembers Ethan when he was a baby."
Says Johns: "I've known [Andy] all my life. He was a hero of mine, growing up. He would come 'round to the house and would always take time to help me restring my guitar or show me a new chord. So to be able to stand in a room with him and make this record was a real treat."
Bass was handled by either Dave Bronze or Ian Jennings, while the drummer was another veteran, Jeremy Stacey. "A lot of thought goes into what Jeremy plays," Johns explains. "He'd bring maybe three kits, at least five snares, 15 or 20 cymbals. He'd even vary what sticks he was using or the type of hardware."
The band played live with Jones singing live in the studio, all grouped together closely, without headphones, Jones included. "To me," he says, "it was a more natural way of recording. When I was first singing in pubs in Wales, we'd rehearse in the pub, we'd get some songs together, and then we'd go out and try them. There were no preset arrangements. They were done on the spot."
The method is one Johns generally prefers on nearly all his recordings. "Everything sounds better if you do it that way," he explains. "You're pitching, you're tuning, you're timing—you're balancing yourselves. That's a fairly fundamental skill as a musician. If you're stuck in headphone world, you're isolated from everybody. Everybody's got their own headphone mixes, listening to their own mix. You can't get a musical conversation going. Overdubbing is a one-way conversation. If the thing you're playing off is stagnant, and not responding to what you're playing, then what are you doing? Who are you playing for? You're certainly not making music with the band. You're doing something else. To me, it's criminal to take a singer like Tom, go away and record a track without him, and then ask him to come in and sing it on his own."
Johns and Monks set up the room with the musicians close to each other, separated by low gobos, and Jones facing them so that all could see and hear each other. "You really want everybody to be primarily listening to the vocalist," Johns explains, "because that's where the beginning of a great take will occur, in the vocal performance. That should be inspiring and leading and informing every choice that you make as a musician. We're all trying to catch the same wave. Tom responds as much to what we're playing as us responding to him. You don't have one thing without the other. If we're not feeling it, all five us, it's not gonna happen."
The Universal Audio console built by Bill Putnam for Frank Sinatra.
The method suited Jones just fine. "They're listening, they're hearing the expression in my voice—they're living in it the same as I am," he says. "Jeremy does little things with his brushes, for example, following my phrasing. It's like he reads my mind—he seems to know what phrasing I'm using and puts in accents to accent it. He changes things as I'm changing them. It's extraordinary."
Monks would mike Jones with a classic RCA 44, which, he notes, had benefits besides its inherent tonal qualities. "Half the drum sounds come in the back end of the 44," he explains. "Everybody is coming down Tom's mic. You can solo Tom's mic and just enjoy the records. That's the sound, basically. I would treat that as if it was the main microphone, as you would a main pair in a classical recording. Everything else in the room is a spot mic."
For louder tracks, the engineer would place a Shure SM7 directly next to the 44. "The 44 is a figure-8 mic, so if you stick a cardioid—like the SM7, which has great rejection out the back—next to it and mix them together, you end up with a hypercardioid microphone."
Johns played his guitars through a 10W or 15W Magnatone Lyric amp, a Vox AC4TV and a Fender Excelsior, while Fairweather-Low had a 15W Supro, with a single 12-inch speaker. "The key to recording in this manner is you've got to be getting a great sound, but at low volume," Johns explains. "So lots of very low-wattage amps knocking around." The Vox was used for the grungier leads, though Johns sometimes would use a diminutive 1W Marshall. "It's a little boutique handmade Marshall, with incredible sound."
Monks miked the amps with a Coles or Telefunken C12, often with a Unidyne SM57 alongside; for smaller combos, a 57 or a Sennheiser 421 in the back, mixed together with the front mics, out of phase, onto a single track. "That's a trick I sometimes do on those really small amps, when you're trying to get some of the low-end resonance output from them," Monks says. "If you just put a mic in front, they can sometimes be a bit small."
For Stacey, Monks had the drummer bring his own vintage AKG D30 bass drum mic, supplementing a selection that included C12s, U 87s, Coles, the 57s and AKG D19s, the latter for louder tracks. "It would change drastically from track to track," Johns says. "I'd marvel at how Dom would change his miking technique depending on the sound Jeremy was making."
Four additional tracks were cut elsewhere, all of which had been attempted previously, but, upon late review of existing tracks, not to Johns' satisfaction. So a year after the last Distillery recordings, Jones, Johns and Monks went to Real World and tracked "Elvis Presley Blues" and "He Was a Friend of Mine," with just Johns on a tremoloed guitar and Jones singing alongside him. In a rare instance of overdubbing, Johns doubled his guitar, producing a unique stereo effect. "We only did two takes of the song," the producer reveals. "We put the guitar track from the alternate and flew it into the first pass—that's that guitar sound." Two more, "Factory Girl" and "Honey, Honey," were recorded anew at Paul Epworth's studio, The Church, with Irish band Rackhouse Pilfer.
Johns mixed most of the album himself at his home studio, Three Crows East. Since he doesn't own a 16-track analog machine, the tracks were transferred to Pro Tools at The Distillery, then converted to analog via a set of RADAR converters before being mixed through his API analog console and recorded to a Studer C37 ¼-inch 2-track.
"I do quick mixes, almost like roughs," Johns reveals. "There's very little processing, no program compression or bus compression, and very little EQing on anything. It's all balance. And I spend no more than 30 or 45 minutes on any song, and then just live with them for a few weeks."
Occasional slap echo does appear, Johns using either an Electro-Harmonix Memory Man or Lexicon PCM42, in lieu of several vintage Echoplexes he has around. "It's pretty crunchy; it has its moments," he laughs. "There's a lot of old gear here, so it's always a bit of 'fingers crossed.' You're running tape, an old console, tubes everywhere. You just hope that nothing's gonna fail catastrophically during the live take, during the keeper."
Tracks like "Why Don't You Love Me Like You Used To Do" can even end up with a mono mix, as was the case here, giving it an authentic 78 rpm sound. "I think one of the enemies of creative record making is decision deferral," Johns says. "You should just trust your instincts. I mixed that song four or five times, and just one day went, 'You know what? I'm gonna mix this mono.'"
The process, from beginning to end, was just Tom Jones and his band, playing songs. "You can hear the joy in those songs, in his voice, because Tom is having a good time," Johns states. "The musicians are being allowed to play and express themselves and perform. And Tom is just sitting in front of people that he loves, making music he wants to sing. When you hear the smile in his voice, it's real."
Kandace Springs' 'Soul Eyes'
BT's Dropping a New Album—You Name It
By Gary Eskow
Classic Tracks: "All By Myself," Eric Carmen
By Matt Hurwitz
On the Cover: The Tracking Room, Nashville
By By Frank Wells // Photos by Reed Brown
Mix Regional Sessions: Canada
By Lori Kennedy
The New Sphere Studios
By By Robyn Flans
Wynonna & Cactus Moser
Mix Regional News: Canada


text:
Q: Error installing RedCloth on Debian x64 Squeeze gem install RedCloth
Building native extension. This could take a while...
ERROR:  Error installing RedCloth:
        ERROR: Failed to build gem native extension.

        /usr/bin/ruby1.9.1 extconf.rb
/usr/lib/ruby/1.9.1/rubygems/custom_require.rb:36:in `require': cannot load such file -- mkmf (LoadError)
from extconf.rb:1:in `<main>'

Gem files will remain installed in /var/lib/gems/1.8.1/gems/RedCloth-4.2.9 for inspection.
Results logged to /var/lib/gems/1.9.1/gems/RedCloth-4.2.9/ext/redcoth_scan/gem_make.out

My version of Ruby installed is 1.9.3p194
Why do I get this error when trying to install RedCloth ?

A: To solve this issue, I had to update to the latest version of Ruby, or at least 1.9.3
I run the following sets of commands, from root and it works for me:
apt-get -y remove ruby
apt-get -y install build-essential openssl libreadline6 libreadline6-dev curl git-core zlib1g zlib1g-dev libssl-dev libyaml-dev libsqlite3-dev sqlite3 libxml2-dev libxslt-dev autoconf libc6-dev ncurses-dev automake libtool bison subversion locales-all python libxml2
curl -L https://get.rvm.io | bash -s stable --rails
source /usr/local/rvm/scripts/rvm

This will totally install the latest version of Ruby, then you can run:
gem install RedCloth -v '4.2.9'

RedCloth will now be installed. RVM will manage your Ruby installations. Ruby will now work too.

redpajama_set_name: RedPajamaStackExchange


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text:
The Editors of Encyclopaedia Britannica
Last Updated: Jan 10, 2020 See Article History
Alternative Title: John Blyth
John Barrymore, original name John Sidney Blyth, (born February 15, 1882, Philadelphia, Pennsylvania, U.S.—died May 29, 1942, Hollywood, California), American actor, called "The Great Profile," who is remembered both for his film and stage roles as a debonair leading man and for his interpretations of William Shakespeare's Richard III and Hamlet. (See Barrymore reading from Henry VI, Part 3.)
John was born into a theatrical family; his parents, Maurice and Georgiana Barrymore, were stage actors, and his siblings, Ethel and Lionel, also became noted actors. John studied painting in Paris but returned to the United States to make his stage debut in 1903. He became a popular light comedian, but it was in serious roles that he scored his greatest stage triumphs. The most important of these were Justice (1916), Peter Ibbetson (1917), The Jest (1919), Richard III (1920), and Hamlet (New York, 1922; London, 1925). These roles led to his being acclaimed as the greatest tragedian of his generation.
Barrymore, JohnJohn Barrymore. Encyclopædia Britannica, Inc.
Barrymore appeared in motion pictures from 1913 and gave notable performances in Dr. Jekyll and Mr. Hyde (1920), The Beloved Rogue (1927), Moby Dick (1930), Rasputin and the Empress (1932; the only film in which Barrymore appeared with his siblings), Grand Hotel (1932), Dinner at Eight (1933), Counsellor-at-Law (1933), Romeo and Juliet (1936), and The Great Profile (1940), in which he lampooned his own image. Though his talents were prodigious and he was considered one of the greatest and handsomest actors of the age, Barrymore became better known for his flamboyant and often outrageous behaviour, and his excessive drinking took a toll on his health and his career.
Barrymore, JohnJohn Barrymore in a scene from Eternal Love, 1929. Encyclopædia Britannica, Inc.
John Barrymore and Greta Garbo in Grand Hotel (1932). © 1932 Metro-Goldwyn-Mayer Inc.; photograph from a private collection
Barrymore had two children, both of whom turned to the stage. Diana (1921–60) was an actress whose promising career was frequently interrupted by alcoholism; she committed suicide. Her autobiography, Too Much, Too Soon (1957), was made into a motion picture in 1958. His son, John Blyth Barrymore, Jr. (1932–2004), known as John Drew Barrymore, was also a film actor and was the father of actress Drew Barrymore (born 1975).
Rasputin and the EmpressJohn Barrymore (left) and Lionel Barrymore in Rasputin and the Empress (1932), directed by Richard Boleslavsky. © 1932 Metro-Goldwyn-Mayer Inc.; photograph from a private collection
The Editors of Encyclopaedia Britannica This article was most recently revised and updated by Patricia Bauer, Assistant Editor.
history of the motion picture: Introduction of sound
…a lavish costume drama starring John Barrymore, directed by Alan Crosland, and featuring a score performed by the New York Philharmonic Orchestra. The response was enthusiastic; Warner Brothers announced that all of its films for 1927 would be released with synchronized musical accompaniment and then turned immediately to the production…
…two-reelers, Astor was selected by John Barrymore to costar in Beau Brummel (1924). The two also began a lively, romantic offscreen relationship, with the legendary, 40-year-old Barrymore helping to hone the teenage Astor's natural acting gifts. After the affair ended, Astor starred again with Barrymore in Don Juan (1926), the…
Michael Strange
…produced successfully on Broadway with John Barrymore in the lead. She began an affair with Barrymore that led to her divorce from Thomas (1919) and her marriage to the actor (1920–28). In 1920 she wrote Claire de Lune, which was presented in April 1921, starring John and Ethel Barrymore.…
View Media Page
May 29, 1942 (aged 60)
house / dynasty
Barrymore family
notable family members
spouse Blanche Oelrichs Thomas Barrymore Tweed
spouse Michael Strange
mother Georgiana Barrymore
brother Lionel Barrymore
sister Ethel Barrymore
Vera Farmiga - Facts
Ryan Gosling - Facts
Beatrice Whitney Straight - Facts
Turner Classic Movies - Biography of John Barrymore
AllMovie - Biography of John Barrymore
Pennsylvania Center for the Book - Biography of John Barrymore
John Barrymore - Student Encyclopedia (Ages 11 and up)

redpajama_set_name: RedPajamaCommonCrawl


text:
Browse: Home / 2017 / March / Curtis Salgado
Curtis Salgado
By Jen on March 7, 2017
The Curtis Salgado show scheduled for March 19 at Noce in Des Moines, IA is cancelled. We hope to reschedule at a later date. Advance ticket holders will be credited. Central Iowa Blues Society wishes Curtis a full and speedy recovery!
SOUL SINGER CURTIS SALGADO TO
UNDERGO TRIPLE BYPASS SURGERY
Award-winning soul and blues singer Curtis Salgado will undergo triple bypass surgery at a Lebanon, New Hampshire area hospital on Friday, March 10, 2017. Salgado was admitted to the hospital on March 7 after what doctors described as a mild heart attack. A cardio catheterization revealed arterial blockage. Please keep Curtis in your thoughts and prayers!
"We expect the surgery to be successful and anticipate a full recovery," according to Salgado's manager Shane Tappendorf. An update will be sent out after surgery.
Join us Sunday, March 19 for Curtis Salgado with a special opening solo performance by Danielle Nicole! Showtime is 6 PM at Noce, 1326 Walnut St.
$25 General Public / $20 CIBS Members – TICKETS
(members receive their discount at the door)
All Ages until 9PM
With a career spanning forty years, award-winning soul, blues and R&B vocalist/harmonicist/songwriter Curtis Salgado is a one-of-a-kind talent whose music is as compelling as his story. From co-fronting The Robert Cray Band to leading his own band (and recording nine solo albums) to helping transform John Belushi into "Joliet" Jake Blues to touring the country with Steve Miller and Santana, he is a true musical giant. NPR calls him "a blues icon" with a "huge voice." Salgado earned a reputation for high-intensity performances and a repertoire inspired by his encyclopedic knowledge of soul, blues and R&B music. He's a multiple Blues Music Award winner (formerly W.C. Handy Awards) and currently nominated for three more! www.curtissalgado.com
Inspired, powerful R&B showcases Salgado's exceptional range and muscular, soulful vocals" – Billboard
Triumphant, joyful blues-soaked R&B…one of the most soulful, honest singers ever" – Blues Revue
Danielle Nicole (Solo) opens the show!


Matteo Sciabordi as Angelo, Omar Benson Miller (behind Matteo) as Sam, Michael Ealy as Bishop, Derek Luke (forefront) as Aubrey, Laz Alonso as Hector in "Miracle at St. Anna."
Matteo Sciabordi as Angelo, Omar Benson Miller as Sam and Michael Ealy as Bishop in "Miracle at St. Anna."
Michael Ealy as Bishop, Laz Alonso as Hector, Derek Luke as Aubrey, Omar Benson Miller as Sam in "Miracle at St. Anna."
Omar Benson Miller as Sam and Matteo Sciabordi as Angelo in "Miracle at St. Anna."
Spike Lee, Joseph Gordon-Levitt and John Turturro on the set of "Miracle at St. Anna."
Massimo de Santis as Don Innocenzo Lazzeri in "Miracle at St. Anna."
Pierfrancesco Favino as Peppi and Sergio Albelli as Rodolfo in "Miracle at St. Anna."
Laz Alonso as Hector and Derek Luke as Aubrey in "Miracle at St. Anna."
Michael Ealy as Bishop and Valentina Cervi as Renata in "Miracle at St. Anna."
Walton Goggins as Capt. Nokes, Laz Alonso as Hector, Omar Benson Miller as Sam, Matteo Sciabordi as Angelo in "Miracle at St. Anna."
Matteo Sciabordi as Angelo, Laz Alonso as Hector in "Miracle at St. Anna."
Derek Luke as Aubrey in "Miracle at St. Anna."
A scene in "Miracle at St. Anna."
Laz Alonso in "Miracle at St. Anna."
Spike Lee, Joseph Gordon-levitt and John Turturro in "Miracle at St. Anna."
A scene from "Miracle at St. Anna."
Omar Benson Miller and Matteo Sciabordi in "Miracle at St. Anna."
Michael Ealy and Valentina Cervi in "Miracle at St. Anna."
Pierfrancesco Favino and Sergio Albelli in "Miracle at St. Anna."
Matteo Sciabordi and Laz Alonzo in "Miracle at St. Anna."
Poster art for "Miracle at St. Anna."


In some genres, namely fantasy and science fiction, there is perhaps nothing rarer than the standalone novel. A novel with no sequels, planned or occurring spontaneously, epic or procedural—just a single story, standing alone, forever.
There's no inherent reason for this. Mostly, Tolkien is the cause—though Lord of the Rings was originally a standalone itself, it was so large that the publisher broke it into three, and thus trilogies have dominated fantasy ever since.
This is not a criticism of series—I love them. Getting to spend a great deal of time with characters and places you love is a joy, and many of my favorite books are series. And some stories are just too large for a single book (or, in the case of more procedural stories, are just more fun with additional entries).
But there's something about the market in place for series that I feel a bit… off for contemplating a standalone novel. Common wisdom indicates that debut authors are better off selling a standalone, but the overblown success of debut trilogies and more suggest otherwise.
Beyond the cold commercialism of a series (with a built-in audience, and time to grow), there's a certain comfort in knowing what you'll write and publish next. If you manage to gain any audience at all with your first work, throwing something completely different at them the next time around could kill any momentum you had. And with a series, you have certain elements of character, setting, and formula to depend upon both in the writing process and in the expectations of your audience.
So which is better? The comfort and limitations of a familiar series, where the next book is built in and the only new ideas are the details? Or the wild and adventurous free-for-all of standalones, where your next book could be anything—but your audience may not follow?
Ultimately, it has to be about the story. Whether you have a large enough story that you see a series from the start, or you have a character who is begging for serial adventures, or you write one story and then see potential for more—if you want to write a series, do it. But if your story only gets weaker the more it's stretched, if its thematic and character arcs do not extend beyond a single narrative, if you want to express a single idea in a unified reading experience—then a standalone may be the better choice.
And a great standalone trumps a shoddy series any day.
This entry was posted in Writing and tagged career, series, standalone. Bookmark the permalink.
I don't think there's better or worse. I like a standalone novel and the fact it's not in a series wouldn't put me off. With a series, I love that I can anticipate enjoying the writing for several books to come.
That said, I get very irritated with books that are not a whole, complete work. You get the ones where there is no ending, just a cut off that will be picked up in the next instalment. It feels quite cynical and manipulative to me and perhaps showing a lack of confidence(?). I don't have a problem with story arcs over a whole series, but if there isn't a satisfying completed story arc in an novel then I close the book and just end up thinking, huh?
I definitely agree. As much as I do enjoy looking forward to a story continuing on, when you get to the end (especially of the very first installment, and especially when that work is very long in and of itself) and storylines are just left unresolved, it's incredibly frustrating. And when you have to wait years to get the next installment, it's possible you'll forget or just not care enough.


This is the complete vocabulary list for the Edexcel GCSE. It is a lot & some sections are quite big. However, if you start early and use this regularly, the reading & writing exams should seem like a breeze when you get there.... OCR has reviewed and endorsed the OCR French, German and Spanish GCSE vocabulary lists on Vocab Express and will shortly being reviewing the other vocabulary lists. The courses from OCR in the panel on the right are included on Vocab Express.
OCR has reviewed and endorsed the OCR French, German and Spanish GCSE vocabulary lists on Vocab Express and will shortly being reviewing the other vocabulary lists. The courses from OCR in the panel on the right are included on Vocab Express.


text:
Unlock potential with the power of collaboration
Today's digital workplace tools such as Office 365 and Google G Suite enable your workforce to collaborate and work effectively from anywhere, anytime. We can help you choose the right platform for your enterprise, helping you drive adoption whilst ensuring that the technology is effectively deployed.
Let's talk technology
We were engaged to work on a strategic IT transformation project and help the NHS Property Services use SaaS offerings to mitigate risks and improve continuity and security.
NHS Property Services brings property and facilities management to the NHS estate. It is a complex commercial landscape with many service providers.
For such a complex landscape, the lack of integrated applications inhibited collaboration, and some core business activities were not being performed adequately. These activities included accurate billing of customers and the collection of rent.
We reviewed network and communication architecture and produced a strategy paper and board presentation.
During this review, there were 3 key areas we identified for immediate investment. These were identity management, the network and a SaaS collaboration platform. It was vital that the NHS Property Services invested in areas which would significantly improve business processes and reduce unnecessary business costs.
We deployed a project team of 7, including project management, deployment managers and technical/strategic management.
A new network was built and implemented to 518 users over 20 sites, and a new telephony system was deployed.
We implemented a fit-for-purpose AD and identity service, which was linked to a cloud identity bridge to enable single sign-on.
There were limited opportunities for single sign-on, and the infrastructure wasn't ready to support public cloud SaaS offerings. Many of the buildings had their own systems and ways of working, but the lack of a centralised phone system restricted accessibility.
We were engaged to work on a strategic IT transformation project and help the NHS Property Services use SaaS offerings to mitigate risks and significantly improve continuity and security for the mobile workforce.
he aim was to bring about a business that works for everyone, whether that's frontline staff, senior management or the end users in the buildings, and we've done that by joining in with their teams. We are not imposing on, but working with, all levels of the business and we have heard the frustrations that many have felt, so developed our plans through listening to their concerns.
We didn't go in with a set solution. We customised our thoughts so that they match entirely what NHS Property Services needs, rather than going in with a bunch of plans that we happened to have ready before meeting them. We didn't go in with a set of partner vendors either. As always with any client, we look carefully at the exact requirements and matched our advice to that.
The main element is that we collaborate. We have become part of their organisation and we have brought NHS Property Services staff in to our team, too. We are going through a joint process, bringing their staff into the new way of doing things. They will have worked on it with us and will completely understand it, so that in the end, it's their project.
Mike Wilton
Project Lead, Leading Resolutions
This project mitigated risks resulting from the lack of investment in infrastructure over many years, and brought an imminent end of life to the current IT. We enabled SLA-driven improvements in resilience, response times, continuity, and security with the ability to respond to cyber-security threats.
With common digital platforms and technologies, this now enables the business systems strategy to underpin cultural change efforts and support greater collaboration with the remote or mobile workforce.
Finally, we implemented a cost model which was based on actual usage for transparency and fairness.
Partnering with Leading Resolutions allowed me to accelerate my mobile working strategy and unify a way of managing my business-critical applications to release £100 million worth of redundant office space.
Kelly Olsen
CIO, NHS Property Services
Viridor: SAP Integration Programme Recovery
Viridor was looking to carry out a particularly significant and complex programme of work based on an already selected ERP system.


Strawberry Banana Smoothie Recipe. No protein powder protein smoothie for Paleo or Plant-based Diet. Dairy-free, easy low-calorie to go breakfast or snack.
Paleo Diet or Raw Vegan friendly. Protein powder-free protein smoothie. A great Sweetheart Smoothie. To kick off Valentine's Day with that special someone.
1/4C Unsweetened Nut Butter, Almond, Pecan, Hazelnut, Walnut, or Cashew, etc.
DIRECTIONS—add all ingredients to a blender. Blend until smooth and creamy. Optional, add ice as needed to thicken and chill. Don't have a high powered blender? Blend all ingredients except for frozen strawberries. Then through hole in the lid, add strawberries a few at a time.
How to make you own almond milk, cashew milk, hazelnut milk, walnut milk and hemp seed milk. It's so easy, you'll never buy pre-made nut or seed milk again! Plus they contain no added preservatives, oils, or sugar.
NOTE: nut and seed milks are naturally sweet, you don't need to add any sweetener. If you absolutely must sweeten your nut or seed milk add your choice of one of the following: medjool dates, unsulphured prunes, or organic raisins to the nuts before soaking then add the whole mix to the blender when making the nut milk. Make sure to remove the pit from the dates before using them.
These nuts are softer and don't really need any soaking. You can put them in a glass jar and pour hot or boiling filtered water over them and let them soak for about an hour or you can skip this step and add them into the blender with 3 cups of filtered or Spring water.
HEMP SEED MILK – recommended to soak because most of the seed will not get blended so you want the nutrients to leech into the soaking liquid before blending and discarding strained pieces.
Step 1: Place nuts of your choice in a large glass jar and fill it with 4-5 Cups of filtered or Spring water. *Refrigerate at least 24 hours but up to 48 hours.
*NOTE: Cashews and walnuts are softer and do not need to be soaked, you can skip soaking for cashews and walnuts if you like. Also, if you are not ready to make the nut milk after 24 hours, simply rinse the nuts, change the water, and continue soaking in the refrigerator until you are ready to make your nut milk. However, each time you change the water you discard some of the nutrients contained in the nuts.
Step 2: Place the nuts and the water in your blender with about 4 to 5 cups of water. Add the vanilla – optional. Blend on high until pureed. After you are done blending, you'll have a thick white liquid with lot of froth on top.
Step 3: Strain the nut milk through a bag strainer, or through a fine sieve, into your original jar or another large container. A nut milk bag will allow you to get more of the milk, but it may be slightly messier.
If you are going to use a sieve, use a spoon to scrap the bottom of the sieve to remove built-up almond pulp. Once all of the nut milk has been drained, remove the pulp before adding more milk to be strained. You can use a large spoon to press the nut pulp into the sieve and get more of the milk.
The finished product will yield about 4 to 5 cups of fresh nut milk. Store in the refrigerator and use within 3-4 days. NOTE: the nut milk will separate so shake it or stir it before every use.
NOTE: try making Pecan nut milk, Macadamia nut milk, and Brazil nut milk too…any nut will do!
USES FOR LEFTOVER NUT PULP: use it to make raw cookies or use it as a paste or a nut butter for spreading. Or make almond meal by dehydrating the pulp in an oven on the lowest temperature for 2-3 hours. Turn every so often during baking. Cool and store in an airtight glass jar.
USES FOR LEFTOVER HEMP SEED PULP: use in health shakes as you would hemp seeds.
Metatag: Strawberry Banana Smoothie Recipe. No protein powder protein smoothie for Paleo or Plant-based Diet. Dairy-free, easy low-calorie to go breakfast or snack.
These recipes look delicious, i'll be busy for weeks trying these, thank you for sharing!


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Las Vegas Bugle Collection on Lesbian, Gay, Bisexual, and Transgender History
MS-00476
The Las Vegas Bugle Collection on Lesbian, Gay, Bisexual, and Transgender (LGBT) History (1984-2002) consists of correspondence, newspaper clippings, photographs, and ephemera chronicling issues of the LGBT communities in Nevada. In addition to records of the newspaper, the Las Vegas Bugle, the collection also contains documents pertaining to the founding of the Gay Community Service Center of Las Vegas, Nevada; Parents, Families, and Friends of Lesbians and Gays (PFLAG); local political campaigns; and photographs documenting LGBT life and culture in Las Vegas, Nevada.
Las Vegas Bugle Photograph Collection on Lesbian, Gay, Bisexual, and Transgender History
PH-00336
The Las Vegas Bugle Photograph Collection on Lesbian, Gay, Bisexual, and Transgender History (1993-2002) consists of photographic prints, negatives, and contact sheets chronicling events and activities of the lesbian, gay, bisexual, and transgender communities throughout southern Nevada. Many of the photographs originally accompanied newspaper articles published in the Las Vegas Bugle.
Gay and Lesbian Community Center of Southern Nevada Photograph Collection
The Gay and Lesbian Community Center of Southern Nevada Photograph Collection contains mainly candid photographs of events and individuals affiliated with the Las Vegas-based Gay and Lesbian Community Center of Southern Nevada (GLCCSN) dating from 1993 to 2000. Photographs depict events honoring prominent members of the gay, lesbian, bisexual, transgender, and queer community; meetings at GLCCSN; and candidate nights for members of the community running for public office. The collection also includes a number of photographs of the Freedom to Marry celebration at the GLCCSN and the Gay Pride Las Vegas festival from 1998 to 1999.
Gay and Lesbian Community Center of Southern Nevada Records
The Gay & Lesbian Community Center of Southern Nevada records (1992-2002) includes news articles; institutional records such as bylaws, agendas, and meeting minutes; ephemera; and programs for the Gay & Lesbian Community Center's annual Honorarium fundraiser.
Gay Life Newsletters
The materials consist of monthly newsletters dated from September 1984 to August 1985 published by the National Association of Lesbians & Gays, a non-profit corporation based in Reno, Nevada. The newsletters in this collection are titled Gay Life, beginning with the inaugural issue in September 1984. The collecton includes one issue of the newsletter after its name was changed to Stonewall Voice! in August 1985.
Gay Business Directories Collection
The Gay Business Directories Collection, compiled by Dennis McBride, dates from 1992 to 2015 and consists of gay and lesbian business telephone directories from sixteen North American markets, including Las Vegas, Los Angeles, Palm Springs, San Diego, San Francisco, Seattle, and Vancouver.
Jan Jones oral history interview
OH-00970
Oral history interview with Jan Jones conducted by Dennis McBride on March 26, 1998 for the Las Vegas Gay, Lesbian, Bisexual and Transgender Archives Oral History Project. In this interview, Jones discusses moving to Las Vegas, Nevada in 1981 and describes the car dealership commercials she was involved in with Kenny Kerr in the 1980s. Jones recalls the No Hate rallies that were organized in Nevada to support gay, lesbian, bisexual, and transgender people. She then talks about the backlash she received as Mayor of Las Vegas because of her support for the gay community.
Reno Gay Rodeo Collection
The Reno Gay Rodeo Collection comprises organizational records collected by Dennis McBride that document the National Reno Gay Rodeo from 1977 to 1988. It includes newspaper clippings, notes, and ephemera, as well as legal documentation from two lawsuits fought unsuccessfully in 1988 to retain the Reno rodeo. The two lawsuits were the Silver State Gay Rodeo Association vs Lawlor Events Center (1988), and the Lantry, et. al. vs Third Judicial District Court, NV (Nevada Supreme Court dismissal, 1988).
Deborah Cameron oral history interview
Oral history interview with Deborah Cameron conducted by Dennis McBride on August 17, 2006 for the Las Vegas Gay, Lesbian, Bisexual and Transgender Archives Oral History Project. In this interview, Cameron discusses the lesbian community in Las Vegas, Nevada, the organization Women of Nevada (WUN), and founding the organization, L Club. She describes other lesbian organizations and clubs that she was a member of and explains why gay clubs were important in forming supportive communities. Lastly, Cameron talks about the disbandment of the L Club.
Wendy Butler oral history interview
Oral history interview with Wendy Butler conducted by Dennis McBride on May 23, 2007 for the Las Vegas Gay, Lesbian, Bisexual and Transgender Archives Oral History Project. In this interview, Butler discusses her involvement with the magazine Lesbian Voice in Las Vegas, Nevada. She recalls that other gay magazine publications at the time would not include women's issues or representation. Butler describes the development of her publication by reaching out to a diverse group of gay people in Las Vegas, and addressing issues surrounding gay people. Lastly, Butler discusses how she advertised her magazine and branching out to find support outside of the gay community.
Archival Collection (175)
Oral histories (document genres) (98)Gay community (92)Las Vegas (Nev.) (83)Gay rights (37)photographs (29)Lesbians (18)Gays -- Nevada -- Las Vegas (12)Gays -- Social life and customs -- Nevada -- 20th century (12)AIDS (Disease) (11)Gay businessmen (11)Gay business enterprises -- Nevada -- Las Vegas (9)Gay pride celebrations -- Nevada (9)Same-sex marriage -- Law and legislation -- Nevada (9)Gay clubs -- Nevada (7)Gay liberation movement (7)Gay pride celebrations (7)Gays -- Religious life (7)Homophobia -- Nevada (7)Political activists (7)Transgender people (7)Gay rights -- Nevada -- Las Vegas -- 21st century (6)Stonewall Park (Nev.) (6)Gays and the performing arts (5)Las Vegas (Nev.) -- History (5)Latinxs (5)Politicians (5)Sex change (5)The LGBTQ Center of Southern Nevada (5)University of Nevada, Las Vegas (5)Aid for AIDS of Nevada (4)Community activists -- Las Vegas (Nev.) (4)Female impersonators (4)Military life (4)Nightclubs (4)Political activism -- Nevada (4)Politics and government (4)Pornography (4)Race discrimination (4)Reno (Nev.) (4)African Americans -- Las Vegas (Nev.) (3)Boulder City (Nev.) (3)Clergy (3)Coalition for the Protection of Marriage in Nevada (3)Correspondence (3)Entertainers (3)Equal Rights Nevada (3)Las Vegas Bugle (3)Metropolitan Community Church (Las Vegas, Nev.) (3)Nevada (3)Nuclear weapons -- Testing (3)Publishers and publishing (3)Sands Hotel & Casino (Las Vegas, Nev) (3)Sodomy -- Law and legislation (3)Theater -- Nevada -- Las Vegas (3)Westside (Las Vegas, Nev.) (3)Women in politics -- Nevada (3)Women United of Nevada (3)African Americans (2)Alward, Fred S. (2)Atomic bomb -- Testing (2)Casinos -- Employees (2)Custody of children (2)digital photographs (2)Discrimination (2)Domestic partner benefits -- Law and legislation -- United States (2)Entertainment (2)Erotic drawing (2)Families (2)Fund raising (2)Gay, James A., III, 1916-1999 (2)Gay pornography (2)Gay rodeos -- Nevada -- Reno (2)Get Booked (2)Group identity (2)Homosexuality--Law and legislation--United States (2)Hospitality industry (2)Hotels (2)Jewish businesspeople (2)Journalism -- Nevada -- Las Vegas (Nev.) -- Twentieth century (2)Judges -- Nevada (2)Las Vegas High School (2)Lawyers -- Nevada -- Clark County -- Biography (2)Lesbian activists (2)Lesbian artists (2)Male dancers (2)Mormon Church (2)Mushroom clouds (2)National Association for the Advancement of Colored People. Las Vegas Branch (Las Vegas, Nev.). (2)Nevada -- Las Vegas -- 20th century -- Gay clubs (2)Nevada -- Politics and government -- 20th century (2)Nevada National Security Site (Nev.) (2)Parkinson, Alfred (2)Personal papers (2)Political activists--Nevada--Las Vegas (2)Real estate agents (2)Religious institutions (2)Schoonmaker, Fred, 1942-1987 (2)Social advocacy (2)Special events (2)Stonewall Riots, New York, N.Y., 1969 (2)Telephone directories (2)Transgender rights (2)Union Pacific Railroad Company (2)Victims of crimes (2)Vietnam War, 1961-1975 (2)Women executives -- Nevada -- Las Vegas -- Biography (2)Women musicians (2)Women political activists -- Nevada (2)Abortion (1)Acting (1)African Americans -- Civil rights -- Nevada -- Las Vegas (1)African Americans -- Employment -- Nevada -- Clark County (1)African American women (1)African American women -- Nevada -- Clark County (1)American Institute of Architects. Las Vegas Chapter (1)Architects -- Nevada -- Las Vegas -- Design and construction (1)Arkansas--Fordyce (1)Art, Modern (1)Artists (1)Audiotapes (1)Bands (Music) (1)Bars (1)black-and-white photographs (1)Bowling (1)Bryan, Richard H. (1)Businessmen (1)Businesspeople – Nevada – Las Vegas (1)Businesswomen -- United States -- Nevada (1)Campaign buttons (1)Campuses (1)Card dealers (1)Carson City (Nev.) (1)Castaways Hotel & Casino (Las Vegas, Nev.) (1)Catholics (1)Center Stage, Inc. (1)Charities -- Nevada (1)Charity organization (1)Cities and towns -- Growth (1)City and town life (1)Civil defense (1)Civil rights (1)Civil rights movements (1)Clark County (Nev.) -- Politics and government (1)Clark County Credit Union. Nevada (1)Colorism (1)color transparencies (1)Community centers (1)Community College of Southern Nevada (1)Congregation Ner Tamid (Henderson, Nev.) (1)Dearing, David (1)Democratic Party of Nevada (1)Depressions -- 1929 (1)Desert Community Church (1)District Attorney's Opinion Project. Clark County. Nevada (1)Dominican Americans (1)Drag queens (1)Drag shows (1)Education (1)Education--Nevada--Clark County (1)Educational television programs (1)Education and state -- Nevada (1)Educators (1)Emigration and immigration (1)Engineers (1)Equal rights amendments (1)Equal Rights Nevada -- Nevada -- 21st century (1)Families of military personnel (1)Film festivals (1)Finnochio's Club (1)Food -- Safety measures (1)Gay, Sam, 1860-1932 (1)Gay critics (1)Gaye, Marvin (1)Gay erotic drawing (1)Gay pride parades (1)Gay veterans (1)Harrah's Las Vegas Hotel & Casino (1)Health care reform -- Nevada (1)Helldorado Days (1)Hoover Dam (Ariz. and Nev.) (1)Hotels -- Nevada -- Las Vegas (1)Housing -- Nevada -- Las Vegas (1)Hughes, Howard, 1905-1976 (1)Immigrants -- Cultural assimilation (1)Imperial Royal Sovereign Court of the Desert Empire, Inc. (1)Investigative reporting (1)Jewish Family Service Agency of Clark County, Nevada (1)Jews -- Societies, etc. (1)journals (accounts) (1)Keno (1)Labor union locals -- Nevada (1)Las Vegas (Nev.) -- Biography (1)Las Vegas (Nev.) -- Politics and government (1)Las Vegas (Nev.) -- Social life and customs (1)Las Vegas Strip (Nev.) (1)Las Vegas voice (1)Law enforcement (1)Legal Cases -- Reno -- Nevada (1)Legislators -- Nevada -- Biography (1)Liberace, 1919-1987 (1)McBride, Dennis (1)McNamee, Frank (1)Medicine (1)Memorials -- United States (1)Mental health services (1)Mexican Americans (1)Mexicans (1)Monuments (1)Mormons (1)Mount Charleston (Nev.) (1)National Coming Out Day (1)Nevada. District Court (Clark County : 8th Judicial District) (1)Nevada. Legislative Assembly (1)Nevada. Legislature. Senate (1)Nevada Campaign for Choice Committee (1)Nevada Gay Action League (1)Nevada Power Company (1)Nevada sports (1)Nevada Women's History Project (1)Nevada Women's Archives (1)Newspapers (1)Newton, Wayne (1)Nonprofit organizations -- Nevada -- Las Vegas -- History (1)Nuclear weapons -- Nevada -- Testing (1)Poets, American -- Nevada -- History (1)Police -- Nevada -- Las Vegas -- History (1)Political campaigns (1)Political candidates -- Nevada (1)Politicians -- Nevada -- Biography (1)Pornography -- United States -- Twentieth Century (1)Potosi (Nev.) -- History (1)Protest movements -- United States (1)Race relations (1)Racism (1)Radioactive fallout -- Nevada (1)Recorder's Office. Clark County. Nevada (1)Records Management Policies and Programs. Clark County. Nevada (1)Revues -- Nevada -- Las Vegas (1)Rhyolite (Nev.) (1)Riviera Hotel & Casino (Las Vegas Strip, Nev.) (1)S.I.R. Productions (1)Safe sex in AIDS prevention (1)Sahara Hotel and Casino (1)Same-sex marriage (1)San Francisco (Calif.) (1)Sasha's Nightclub and Restaurant (Las Vegas, Nev.) (1)Schafer, Bill (1)School integration -- Nevada (1)Service organizations--Nevada--Las Vegas (1)Sex -- History -- Nevada (1)Silver Slipper Gambling Hall and Saloon (1)Sisters of Perpetual Indulgence (1)Softball teams (1)Southern Nevada Association of PRIDE, Inc. (1)Sports (1)Sports for women (1)State Historical Records Advisory Board (SHRAB). Nevada (1)Student activities (1)Student Organization of Latinos (1)Synagogues (1)Telephone companies -- Employees (1)Temple Beth Sholom (Las Vegas, Nev.) (1)Theatrical producers and directors (1)Travel (1)Treasure Island Hotel and Casino (Las Vegas, Nev.) (1)Trials (Sodomy) (1)Tropicana Hotel (Las Vegas, Nev.) (1)University of Nevada, Las Vegas. Libraries. Special Collections and Archives (1)Valley times (North Las Vegas, Nev.) (1)Veterans (1)Web archives (1)Women (1)Women -- Las Vegas (Nev.) (1)Women artists (1)Women clergy (1)Women college teachers -- Nevada -- Las Vegas -- Biography (1)Women college teachers in literature (1)Women in medicine (1)Women journalists -- Nevada -- Las Vegas (1)Women professional employees (1)
Records Classification
Oral Histories (99)Manuscript collections (64)Photograph collections (9)University Archives (2)


The biggest surprise is that the Elaegnus has done really badly, they've all pretty much died off. The Amelanchier has seen the most robust growth, now well over 2 metres high, and the Viburnum and Hippophae have done pretty well too.
I thought that it would be the Hippophae that would struggle the most with the wet soil but no, it's perfectly happy.
What is strange is that a named variety of Elaegnus umbellata, 'Newgate' from Agroforestry Trust which is just a bit further down the field has done really well – vibrant green shiny foliage and plenty of growth. Indeed, I've taken quite a few cuttings from it last autumn.
Whilst removing tree protectors and replanting the gaps with Hippophae rhamnoides, this idea of diversity is the one that really struck home. I had considered planting all Elaegnus umbellata, and I'm very glad I didn't. The other idea is that Amelanchier seem do well, so I've planted an Amelanchier alnifolia 'Obelisk' as well.
The other thing about maintenance work is that you notice yet more maintenance work: the gap between the hedge and the fence needs mulching, and some fence posts need replacing!


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NES Reviews C
Publisher: Rare (1988)
Here's an interesting shooter similar to Nam 1974 (Neo Geo), although not nearly as good. In Cabal, you move a soldier side-to-side across the bottom of the screen, shooting and ducking behind barriers as enemies open fire in the background. By aiming a crosshair and holding the fire button, you blast enemy troops, tanks, trucks, and helicopters. Two people can play at the same time. Cabal would be pretty cool if not for the awkward control scheme that moves both your soldier and crosshairs. Not only do they move at the same time, but also at different speeds! Still, it's satisfying to mow down enemy troops and lob grenades at tanks. Each stage provides some interesting scenery, including an enemy fort, a murky swamp, and an exotic beach. I like the concept of the "enemy meter", which keeps you posted on how many more enemies you need to defeat to advance to the next stage. Sometimes Cabal doesn't make much sense. For example, when you complete a stage, all of the scenery on the screen collapses into a dusty heap. I can understand buildings collapsing at a fort, but is it really necessary for the swamp to cave in as well? It's equally strange how at the end of each stage your soldier celebrates by running around and waving his gun like a bow-legged hillbilly! Cabal isn't great, but if you're looking for a unique shooter, it has its moments. © Copyright 2004 The Video Game Critic.
Find Cabal on eBay, Amazon, YouTube
Our high score: 25,170
If you like this game, try: NAM 1975 (Neo Geo),
Tanks But No Tanks (Atari 2600), Dynamite Duke (Genesis),
Tanks A Lot (Arcadia 2001), Charge 'N Blast (Dreamcast)
Captain Skyhawk
Publisher: Milton Bradley (1989)
I wasn't very familiar with Captain Skyhawk when I began this review, but judging by the tons of copies at my neighborhood Funcoland, I'm guessing it must have been pretty popular at one time. And it's easy to see why, because this is a first class shooter with pseudo-3D visuals that represent the cutting edge for the NES. You guide a large, nicely rendered fighter plane over planets with geometric surfaces and triangular mountains. The landscapes don't look particularly realistic, but the crisp visuals convey a nice sense of depth. That's important, because you can adjust your altitude and even land to refuel during some missions. As you weave through valleys, you'll blast cannons, tanks, and helicopters. The animation is fast and smooth, with explosions that are modest but still satisfying. Enemy missiles can be hard to see, but moving side-to-side helps avoid these slow-moving projectiles. The diverse mission objectives include rescuing a scientist, dropping off supplies, and destroying strategic enemy bases. In addition to the planetary missions, there are also some air-combat and space station docking stages. The air-combat stages play like Afterburner, with enemy aircraft that zoom in and scale nicely over the horizon. Unfortunately, these air stages are lengthy and and tend to wear out their welcome. The docking stages are short but require precision and timing. Once docked, you can load up with several secondary weapons, including lock-on missiles. The game provides several continues. Be sure to check out the title screen music which is exceptionally good. Captain Skyhawk is an ambitious shooter that delivers with quality visuals and surprising depth. © Copyright 2004 The Video Game Critic.
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If you like this game, try: Stealth (NES),
Armor Ambush (Atari 2600), B-17 Bomber (Intellivision),
Radar Lock (Atari 2600), River Raid II (Atari 2600)
It's interesting to go back and play the original Castlevania - the game that started it all. I was particularly impressed with the soundtrack, which manages to be both melodic and haunting - a tall order for the NES. You assume the role of a vampire hunter attempting to slay Dracula in his castle. Initially armed with only a whip, you'll find special weapons which are unleashed by pushing up on the directional pad while pressing the attack button. These include knives, axes, holy water, crosses, and a magical watch that temporarily freezes foes in their tracks. Establishing the formula that will continue for all of eternity, you'll slash torches to reveal hearts, leap between ledges, and battle legions of evil creatures from skeletons to zombies to jumping fish-men. Castlevania's simple, arcade-style gameplay is compelling but slightly tainted by its preponderance of cheap hits. Being touched by a little bat can send you plunging into the nearest abyss, and many traps spell instant death. Castlevania's graphics are better than you might expect, with meticulously detailed walls that look properly aged. On the downside, some of the creatures are not well defined, and smaller creatures can be hard to discern. But despite its rough edges, Castlevania is a fun game that stands the test of time. © Copyright 2004 The Video Game Critic.
Find Castlevania on eBay, Amazon, YouTube
If you like this game, try: Castlevania (Nintendo 64),
Castlevania: Harmony of Dissonance (Game Boy Advance), Castlevania Bloodlines (Genesis),
Super Castlevania IV (Super Nintendo), Castlevania III: Dracula's Curse (NES)
Castlevania II: Simon's Quest
You'd expect the first Castlevania sequel to expand on the solid gameplay of the original, but Simon's Quest took an ill-advised new approach. In an apparent attempt to make the gameplay "richer", Konami incorporated all sorts of RPG elements, transforming an exciting action adventure into a tedious exercise in collecting hearts, talking to characters, and killing time. Your quest begins in a quaint town, one of many you'll visit to collect items and gather information. Pressing the select button reveals a status screen which displays weapons, items, and other vital information - including the time of day. This is worth noting because time plays a vital role in the game. You'll need to purchase and trade items in order to progress through the game, but you can only do business with townsfolk during the day. At night, the villages are crawling with ghouls you slay to earn hearts. The idea is to rack up hearts before sunrise, and then use them to purchase items during the day, but it rarely works out so neatly. You need a lot of hearts to buy critical items, and too often I found myself waiting impatiently for the sunset or sunrise. Simon's Quest lacks the arcade flavor of the first game, but its graphics and sound are very good. The monsters include the usual suspects like skeletons, swamp creatures, and werewolves, but there are also new surprises like web-slinging spiders and hands that reach out of graves. The soundtrack is high quality, but much like the gameplay, it is repetitive. Simon's Quest is far more expansive than the first, so a much-needed password feature is provided. The game has three different endings, but don't expect much from them. Castlevania II just isn't as fun as the original game, and its new RPG elements weigh it down. © Copyright 2004 The Video Game Critic.
Find Castlevania II Simon's Quest on eBay, Amazon, YouTube
If you like this game, try: Castlevania III: Dracula's Curse (NES),
Castlevania (NES), Castlevania (Nintendo 64),
Castlevania: Symphony of the Night (Playstation), Night Creatures (Turbografx-16)
Castlevania III: Dracula's Curse
When it comes to NES side-scrolling action, it doesn't get much better than Castlevania III. After a brief misstep with Simon's Quest, the series gets back on track with this action-packed gothic adventure. As vampire hunter Trevor Belmont, you'll journey through a village, swamp, forest, clock tower, and ghost ship before finally arriving at Dracula's huge castle. The graphics are remarkable, from the vine-laced ruins in the foreground to the soaring mountain peaks in the distance. Unlike most NES titles, the characters here actually look somewhat realistic. An amazing variety of creatures include floating medusa heads and pesky little hunchbacks. The controls are responsive enough, but navigating stairs takes a little finesse. The difficulty is fair, and a password feature allows you to save your game. Unlike Castlevania II, no separate status screen is required since all the vital information is displayed across the top of the screen. Perhaps Castlevania III's most innovative feature is the ability to play as boss characters you defeat along the way - an ingenious concept. The stages are separated by branching paths, adding even more replay value to an already extraordinary game. The first-rate musical score brilliantly captures the flavor of the game. Castlevania III: Dracula's Curse is a "must-have" NES game if there ever was one. © Copyright 2004 The Video Game Critic.
Find Castlevania III Dracula's Curse on eBay, Amazon, YouTube
If you like this game, try: Super Castlevania IV (Super Nintendo),
Castlevania: The Dracula X Chronicles (PSP), Castlevania II: Simon's Quest (NES),
Castlevania Dracula X: Rondo of Blood (CD) (Japan) (Turbografx-16), Castlevania (Nintendo 64)
Caveman Games
Publisher: Electronic Arts (1990)
This game is funny!
With its humorous visuals and competitive head-to-head action, Caveman Games has an intriguing premise but is aggravating to play. Like a prehistoric version of Summer Games, it contains six individual "sports" events that pit two cavemen against each other. Events can be played individually or sequentially in one big tournament. The graphics feature impressively large sprites rendered with a comic flair. The action kicks off with the "clubbing" event, where two Neanderthal men beat the heck out of each other on an elevated stone platform. It sounds like a good time, but stiff controls and choppy animation take its toll on the fun factor. The "Mate Toss" event is inspired by the Olympic hammer throw, but in this case you swing a cavewoman by the leg and hurl her for distance. It looks pretty hilarious, and is probably the most entertaining contest of the bunch. In "Dino Vault", you attempt to soar over a hungry T-Rex, but the unforgiving controls make this event too frustrating. "Dino Race" is one of those split-screen, button-tapping foot races with rock obstacles to jump over. It would have been a lot better if the controls weren't so confusing and unresponsive. "Saber Race" is another split-screen affair, but this time both players are chased by a Sabertooth Tiger. Players can push and shove each other as they head toward the safety of a tree. In "Fire Start", both cavemen are sitting next to each other in front of a pile of sticks. For readers who aren't Eagle Scouts, igniting the sticks involves rubbing sticks together and blowing on them. Not only is this event time-consuming and hard on your hands, but your opponent can also reach over and club you in the head just as you're about to get a flame going. That sucks! I reviewed this game with several friends, and although we shared a few laughs, I think we were all pretty relieved when it was over. I usually enjoy head-to-head competitions, but Caveman Games is too hard for its own good. © Copyright 2006 The Video Game Critic.
Find Caveman Games on eBay, Amazon, YouTube
Our high score: SLN 686
If you like this game, try: Summer Games (Atari 7800),
Decathlon (Atari 2600), Summer Challenge (Genesis),
Crash 'N' the Boys: Street Challenge (NES), Beijing 2008 (Xbox 360)
Publisher: Exidy (1986)
Controversial Contains violence and gore May contain graveyards This game is scary
Whoa - this is the most bizarre NES game I've ever seen. Chiller is a gruesome, unlicensed light gun game created by twisted minds for twisted minds. The first thing you notice is its oddly-shaped cartridge that does not easily fit into the console. Once you get that working, you'll struggle with the controls. Configuring the game to work with the NES light gun is not easy. You'll need to plug the gun into the right port, but it's hard to tell if it's working because it's so unresponsive. You have to keep it within a few inches of the screen for your shots to register, and even then the accuracy is just not there. But as bad as the gun control is, it's actually a step up from the control pad, which uses a tiny, hard-to-aim crosshair. Chiller's control is deplorable, but I was fascinated by its graphics and sound. This game brings to life so many classic horror images. The first stage depicts a graveyard scene at night with a church in the background. Arms reach out of graves and toss skulls back and forth. Heads and limbs can be seen on the ground, and a mysterious woman pushes a baby carriage in the distance. Your job is to hit a certain number of targets in a fixed period of time. Actually, many targets are revealed by red dots that appear with when the screen flashes as you fire the gun. The second screen depicts the hallway of a haunted house with various creeps and apparitions. You'll see an arm fall from the ceiling and be retrieved by a hungry dog below. Then things get really twisted. The third stage shows some men strapped down, and you must shoot each part of their bodies until nothing remains. Is this sick or what? Fortunately, the cheesy NES graphics aren't realistic enough to be disturbing. In this final stage, a man is chained to the wall, another is in a guillotine, and a semi-naked woman is trapped in an iron maiden. Chiller is over-the-top by any standard. It provides some novelty value for adults, but it's definitely not for kids. © Copyright 2001 The Video Game Critic.
Find Chiller on eBay, Amazon, YouTube
If you like this game, try: Point Blank (Playstation),
Hogan's Alley (NES), Micro Machines (Aladdin version) (NES),
Blair Witch Project, The (Atari 2600), Bug Hunt (Atari XEGS)
Chip N Dale Rescue Rangers
Publisher: Capcom (1990)
In Rescue Rangers, two players cooperatively control Chip and Dale, the two chipmunks of Disney fame. You begin in a back yard, hopping on fences and avoiding dogs while collecting bonuses and power-ups. Boxes can be thrown or used as hiding places. You'd think that being able to play alongside a friend would be a treat, but the two-player mode is annoying and frustrating. You're constantly hitting your partner accidentally, and trying to keep both characters on the screen is a major challenge, especially when jumping between ledges. The one player mode is more playable, but unremarkable as far as these types of games go. Younger gamers might derive some enjoyment from this, but I certainly didn't. © Copyright 2001 The Video Game Critic.
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If you like this game, try: Chip's Challenge (Lynx),
Cosmic Swarm (Atari 2600), Go Diego Go! Safari Rescue (Wii),
Alfred Challenge (Atari 2600), Qix Neo (Playstation)
Clash at Demonhead
Publisher: Vic Tokai (1989)
This game is a hidden gem
At first glance Clash at Demonhead seems utterly generic, but there's a lot of substance underneath its vanilla surface. You assume the role of a guy named "Bang", and you'll climb mountains, swim, explore caves, and hop between platforms in the sky to save your girlfriend. A branching map lets you select your stages, and that's an awesome feature. The stage layouts are arranged both vertically and horizontally, so falling and climbing can take you to new areas. I was pleasantly surprised to fall off the screen and not die for a change! Each stage is populated by random zany creatures like flying fish, birds, and robotic animals. Isn't that Mr. Bubbles from the old television commercial? The controls are responsive, and I like how you can shoot while hanging off ladders. Enemies move in predictable patterns and forging through the stages with your default pea-shooter is a pretty ho-hum affair. Once you discover the shop screen however, a world of possibilities opens up. The shop actually comes to you when you call it, providing instant access to items like boomerang guns, power boots, health drinks, and aqua-lungs. This is where the fun begins! Since defeated enemies drop wads of cash, it doesn't take long to afford the good stuff. You can even "buy" a password, and it's super long so you know you're getting your money's worth! Experimenting with item combinations adds strategy and dramatically boosts the replay value. The more you play, the more you appreciate the game, and its catchy soundtrack has a way of getting under your skin. Clash at Demonhead feels like an amalgamation of every NES platformer ever made, but as it turns out - that's not such a bad thing after all. © Copyright 2012 The Video Game Critic.
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Save mechanism: Password
If you like this game, try: Mr. Do!'s Castle (Atari 2600),
Mr. Robot and His Robot Factory (Atari XEGS), Wonder Boy III: The Dragon's Trap (Sega Master System),
Super Valis IV (Super Nintendo), Rygar (NES)
Seasonal winter fun
After reviewing the 16-bit versions of Cliffhanger, I felt compelled to give the NES edition a shot. The first stage does not inspire confidence. Sylvester Stallone (Gabe) resembles a little green leprechaun, and those rocky cliffs look awfully fake. Why can't I enter any of these log cabins? I can understand why wolves might want to attack me (because they are wolves) but what did I ever do to piss off all of these birds?! Cliffhanger was tricky to review, because if you stand still for too long your character simply drops dead. The opening stage is a real hardship. There's one section you need to climb across a rope (hold B), and dammit, Gabe just doesn't want to hang on! Even when you make substantial progress, using a continue sends you way back. What helps you persevere is the fact that when you're hit during a jump, it does not interrupt your jump. This is huge, because the game requires you to make a lot of long running leaps. If you can survive the first chapter, the difficulty eases up and the game gains traction. Trading punches with henchmen looks silly, but it's satisfying to watch them fall off the cliffs and plummet to their deaths. There are a few surprises, like when you beat up a boss and proceed to ride that bastard down a hill like he's a friggin' snowboard! Sweet! Occasionally you'll acquire a weapon like a knife or gun, but these are rare. I like how your score increases as you collect bags of money. Cliffhanger for the NES may seem like a total dud at first, but if you can overcome the initial frustration, you may find it worth your while. © Copyright 2013 The Video Game Critic.
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Our high score: 9425
If you like this game, try: Cliffhanger (Sega CD),
Spawn (Super Nintendo), Cliffhanger (Super Nintendo),
Doom (Jaguar), Roc N Rope (Colecovision)
Cobra Command
Publisher: Data East (1988)
Cobra Command is a second-rate Choplifter clone with uninspired gameplay and awful control. You pilot a helicopter on a side-scrolling screen, attempting to rescue hostages while contending with ground fire and enemy helicopters. With only three shooting angles, it's very difficult to aim. Controlling your sluggish aircraft is a chore, especially when the screen is in the act of scrolling. Cobra Command's background graphics are fair, but the explosions are just pathetic. Incredibly, shooting a helicopter or a soldier produces the same lame explosion. It's hard to find anything to like about Cobra Command. © Copyright 2001 The Video Game Critic.
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If you like this game, try: Cobra Command (Sega CD),
Choplifter (Atari 5200), Choplifter 3 (Super Nintendo),
Choplifter (Sega Master System), Choplifter (Atari 7800)
Cobra Triangle
Games like this are the reason you need to hold onto your old NES console. Cobra Triangle is a compelling speedboat game that's unlike anything I've played before. With eight unique stages, variety is the name of this game. Commanding a small, red speedboat with a mounted gun, the action is viewed from a tilted overhead perspective. The various stages challenge you to race other boats, collect pods, dispose of mines, guard swimmers, and even practice shooting targets on the shoreline. The title screen features a huge green sea serpent, and I was pleased to see this beast brought to life in the impressive boss stage. Only the "jump the waterfall" stages fail to live up to their potential, mainly because the falls look so fake. The stages are very uneven in difficulty, so be sure to "power-up" your boat in the early going. In general, the stages tend to run less than a minute each, so even if you don't care for a particular one, you won't have to deal with it for long. You can tell that Cobra Triangle was programmed by talented programmers. The graphics are bright and attractive, with smooth animation and minimal flicker. After completing a stage, a tiny propeller sprouts from your boat and flies you to the next stage. Compared to its graphics, Cobra Triangle's music is pretty mediocre. You get three continues, but using a continue does not reset your score, and that's just wrong. Still, Cobra Triangle is a quality title that's unlike anything else out there. © Copyright 2004 The Video Game Critic.
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If you like this game, try: X-Men: Mutant Apocalypse (Super Nintendo),
Eliminator Boat Duel (NES), Bimini Run (Genesis),
Parashooter (Arcadia 2001), Stargate (Atari 2600)
Code Name: Viper
May contain hotties
If you enjoy any of the Rolling Thunder (Namco, 1989) games you will love Code Name: Viper. It uses the same engine for Pete's sake, so we might as well call it "Rolling Thunder in the jungle". In this taut side-scroller you methodically forge through enemy fortifications, performing strategic duck and cover while trading shots with adversaries decked out in a stylish array of colorful jumpsuits. The shooting controls are highly responsive and I like how most shots hit enemies directly in the face. Entering doorways allows you hide, reload, and occasionally rescue hostages. These female hostages are hooooot! Occasionally you'll find a tied-up skeleton in place of a hostage, crumbling to the ground. I guess I was a little late! Upon acquiring a grenade, I was like "how do I use this thing?" Turns out it's just something you're supposed to carry with you so you can blow open the exit. As much as I enjoyed Code Name: Viper I really want to tell the main character to put on some damn pants for crying out loud! This dude is taking this whole "commando" thing waaay too literally! I can't believe he marched into his commanding general's office like that! When he dies he slouches over with his bare ass sticking in the air! That's no way to go. Oh well, at least it explains his code name. Besides pants this game could also use a stage select. This omission is glaring considering the game displays a map of South America between stages. There are all the typical locations including jungles, docks, castles, etc. You know the game is good when you find yourself cursing like a sailor yet using every last continue anyway. Code Name: Viper is a clear winner, pants-down! Whoops I meant hands-down! © Copyright 2019 The Video Game Critic.
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Recommended variation: easy
If you like this game, try: Namco Museum 50th Anniversary (Playstation 2),
Rolling Thunder 2 (Genesis), Jungle Hunt (Colecovision),
Thunder Force II (Genesis), Rush 'n Attack (Commodore 64)
After recently playing this game on the Atari 7800, I can really appreciate the smooth, vibrant graphics of this superior NES version. Commando plays like Ikari Warriors or Rambo, as you control a single soldier forging up the screen into enemy territory. The action is intense as you shoot scores of enemy soldiers and toss grenades into bunkers. The action is smooth but the flicker can be excessive at times, detracting from the otherwise sharp visuals. Commando is extremely challenging, and can be frustrating for the novice. The mobs of regenerating enemies are relentless, and you're more likely to die from touching one of them than from actually being shot. Trying to aim diagonally can be especially frustrating. If there's a secret to doing well in Commando, it is this: Shoot constantly and keep moving. It turns out that enemies can't fire their guns or catch up to you once you pass them, so just concentrate on those ahead of you. The background graphics depict a bland, brown environment suggestive of Desert Storm. I wasn't terribly impressed with the gameplay, but Commando did keep me entertained for a little while. It's a shame that the two-player mode requires both players to take turns instead of playing at the same time. © Copyright 2003 The Video Game Critic.
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If you like this game, try: Commando (Atari 7800),
Ikari Warriors (NES), Guerilla War (NES),
Rush 'N Attack (NES), Ikari Warriors (Atari 7800)
Contra's rousing theme song is instantly recognizable to many gamers raised on the NES. Most of my buddies played this game religiously as kids, and still love to play it today. Contra set the standard for commando-style, side-scrolling shooters, with top-notch graphics, memorable audio, and a superior control system. Incorporating stages with various points of view and intimidating bosses, Contra keeps you coming back for more. Your Rambo-like character battles soldiers, cannons, and aliens as he traverses jungle, snow, waterfalls, hangars, and a climactic alien lair. The control is dead-on; you can jump, duck, and aim in eight directions. The fact that you can fire diagonally was actually quite a luxury in 1988. Power-ups abound, but the "spray" weapon is by far the most desirable. The finely-detailed, side-scrolling stages are expertly designed to provide multiple routes and allow for strategic crossfire opportunities in the excellent two-player simultaneous mode. You know it's not your typical side-scroller when you fall off a platform into water below, but instead of losing a life, you can wade safely to shore. Well-executed pseudo-3D shooting levels elevate the game to the next level, and the bosses are immense but never frustrating. This game is challenging - the standard three lives is hardly sufficient - so don't hesitate to use the popular 30-life cheat code (Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start at title screen). Contra is a classic NES shooter, and one of the definitive titles for the system. Konami released a sequel called Super C. © Copyright 2005 The Video Game Critic.
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Recommended variation: 3 lives
Our high score: SLN 71,500
If you like this game, try: Super C (NES),
Contra 4 (Nintendo DS), Commando (NES),
Taito Legends (Playstation 2), Capcom Classics Collection Vol 1 (Playstation 2)
Contra Force
Warning: Bugs and glitches Rare and Expensive Controversial ET Award for extreme disappointment
I wasn't planning on riding the anti-Contra Force bandwagon, but hey look - there's room for one more! This notorious platform shooter is probably the biggest NES bust of all time. The first two Contra games were legitimate NES classics, but this third entry is a catastophe. It tries to expand the scope of the single-player mode by allowing you to call in CPU-controlled partners (via the pause menu) to provide cover (for five seconds at a time). The concept is not outrageously bad, but the execution certainly is! The game feels terribly sluggish in general, but introducing another character brings the action to a veritable crawl! The constant fluctuations in speed wreak havoc on your ability to target an enemy or leap between moving platforms. Worse yet, there's a tremendous amount flicker that will have you wondering what the [expletive] is going on! The screen often doesn't scroll far enough, so you can't see what's ahead unless you "push" yourself into danger. The collision detection is lousy, and your default weapon has limited range. Even the selection screens are poorly designed and confusing. The situation is just as dire when playing with a friend, and that's a serious problem considering the Contra franchise was built on coop action. Looking at the positives, the graphics aren't bad and the opening harbor stage offers some nice views. The lively musical score has a definite Contra flavor. I tried giving Contra Force the benefit of the doubt, treating it more like a strategy title than an action game. But even so, its infuriating technical deficiencies had me cursing in disgust. There's no use defending this atrocity. © Copyright 2013 The Video Game Critic.
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If you like this game, try: Gain Ground (Genesis),
Contra 4 (Nintendo DS), Silent Scope 3 (Playstation 2),
Danger Girl (Playstation), Bomberman (Turbografx-16)
Crash 'N' the Boys: Street Challenge
Publisher: Technos (1992)
Supports three or more players Rare and Expensive Seasonal summer fun This game is funny!
Crash 'N' the Boys Street Challenge is a goofy take on the Summer Olympics. This game seems to have achieved cult status over the years. The graphics are charming. The stages boast quaint neighborhood shops superimposed against majestic soaring skyscrapers. I also like how the characters exhibit dramatic facial expressions. The events have a penchant for violent mayhem. In the 400m "hurt-les" you tap buttons to jump low hurdles and slide under tall ones. It's also possible to hurl a broken hurtle at your opponent. Should you lose pace and fall off the screen, the game just tosses you back in the running. I guess the only button mashing that matters is the final two seconds before crossing the finish line? Hammer throw golf takes place in a park, where you're trying to see how few times you can hurl a ball on a chain to reach a hole 1000 meters away. Button-mashing charges your power meter and it's satisfying to watch your "hammer" soar into the air as the remaining distance counts down. I only wish there weren't so many water and sand hazards. In "water slaughter" competitors swim down a two-lane canal in the center of town. It's not so much about swimming as it is beating the crap out of each other. You can slug it out underwater or jump on your opponent's back and ride him like a bucking bronco! Yes, that looks hilarious. Next up is skyline scramble, which requires you navigate rooftops using poles (to vault) and unicycles (to ride along tight ropes). If you're timing isn't good with the vault you risk performing a Tom Cruise-style faceplant into the side of a building (too soon?). The final event, judo, is a one-on-one street fight. When clenched, fighters button mash for the opportunity to perform special moves like the "atomic drop" or "fingertip spin throw". The events aren't always fun but they are consistently entertaining. It took a while but my friends gradually warmed to Crash 'N' the Boys. Unfortunately, even with four players the CPU still insists on participating for some reason. The standings are difficult to read because they use confusing team and character names. A steep learning curve may deter some gamers, but Crash 'N' the Boys: Street Challenge ultimately gets over on its winning personality. © Copyright 2017 The Video Game Critic.
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Skate or Die (NES), Track & Field (Atari 2600),
International Track and Field (Playstation), Olympic Summer Games (Genesis)
Crystalis
Publisher: SNK (1990)
This is a likeable action-adventure along the lines of Legend of Zelda (NES, 1986). The game's ominous intro reveals October 1, 1997 to be the "end day" when the earth destructs and becomes overrun with mutated creatures. Thinking back, the only thing I remember from that day is picking up some McNuggets at a McDonalds drive-thru. Oh wait! That's right - I forgot to ask for BBQ sauce. Damn - I guess that was a pretty bad day! Crystalis begins in a small township where you gather bits of background information, obtain basic items (like a sword), and begin exploring the surrounding wilderness. Crystalis is easy to play, and the fact that your character walks at a brisk pace minimizes the tedium usually associated with traveling over large expanses of land. Short conversations are initiated by simply walking up to a townsfolk, which is great at first but can get a little irritating when you don't feel like talking. Most of the time you're searching for that next critical item which will unlock a new location or unleash the next boss. There's a nice diversity of locations from green meadows to snowy cliffs to hazy purple swamps. The dungeons are networks of halls and rooms sprinkled with wandering bugs and lizards. Slashing with your sword is easy enough, but stay alert because even smallest creatures can get in a few licks if you let your guard down. Crystalis is generally well designed but I dislike how you must "level up" to initiate key actions or defeat certain bosses. You'll experience the 1990 equivalent of "grinding" as you wander the wilderness searching for unsuspecting mushrooms to slay for the sole purpose of padding your experience points. One excellent feature is the save system, which provides two battery backed-up slots. You'll probably need to replace the battery in your cartridge (it's been 20 years for Pete's sake!) but it's worth the effort. As a potent mix of exploration, problem solving, and combat, Crystalis almost manages to out-Zelda Zelda! Note: Always hold in the reset button when powering off your NES system with a battery backed-up cart. © Copyright 2010 The Video Game Critic.
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Save mechanism: Battery
If you like this game, try: Zelda II: The Adventure of Link (NES),
Legend of Zelda, The (Game Boy Advance), Neutopia (Turbografx-16),
Zelda, The Legend of (NES), Legend of Zelda: Twilight Princess (GameCube)
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Screen shots courtesy of Video Game Museum, NES Player, Moby Games, Universal Videogame List