(Former) Player Spotlight – Ray Reardon

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The 19th century catalogued many of history’s most significant inventions such as the telephone, typewriter and camera. Among these creations were literary publications, one of which famously recorded the events of a Count and his movements from Transylvania to England in an attempt to…wait, what? Oh, my bad. This is about a different Dracula. Let’s talk about Ray Reardon!

Reardon was one of the key figureheads of the 1970s (and part of the late 60s) involved when snooker was gaining popularity and exposure to the viewing public. Alongside talents such as Alex Higgins, John Spencer and Eddie Charlton, Reardon was the most successful of the group of players that ushered snooker into the homes of millions as he dominated the decade. Aided by the success of Pot Black (click here to read about that), Reardon paved the way with his skill and character for the generations that followed.

Former coal miner and policeman, Reardon had noteworthy success in amateur competition during his late teens (in the 1950s) as he won a consecutive number of Welsh Amateur titles. He was also able to win the English Amateur title against cohort, Spencer in 1964, the success of which ultimately led to Reardon’s professional turn in 1967.

Following the success of the newly televised Pot Black, Reardon and others were propelled to stardom as snooker became a household favourite. Reardon was able to rise to the top during this era as he began his sweep of World Championships – which was obtained during a time where finals lasted far longer than a best-of-35. His first came in 1970 and although he couldn’t defend it, led to a successful four consecutive ventures from 1973-1976. This included a nail-biting deciding frame in 1975 (held in Australia) between Reardon and Charlton, where the scores were 30 frames each, with one more to play.

Reardon was also able to achieve victory at the Crucible in its second iteration as he became the oldest World Champion at 45 years old in 1978. He would have one last shot at the World title a few years later in 1982 as he came up against old rival Alex Higgins in what was a closely fought and highly memorable contest.

Regardless of whatever ranking system was implemented at the time, there was no doubt relating to Reardon’s position at No. 1. Rankings were introduced in 1976/77 and Reardon held No. 1 for 5 years into the 1980s where Steve Davis entered the scene. Reardon was able to regain this position in 1982 as he became the oldest player to win a ranking event at age 50; still showing his formidable brilliance on the snooker table. And that’s the kind of player he was. Brilliant long potter including along the cushion, and a terrific tactician.

Unfortunately, the UK Championship was introduced in 1984 otherwise this would have been a trophy that Reardon would have added to his collection alongside the Masters in 1976. Nevertheless, you just need to look at his Wikipedia page to view all the finals Reardon has contested and trophies he has won.

The important quality about Reardon was that his skill and fortitude on the snooker table was matched by his professionalism and integrity off the table. He was a prodigious ambassador, in a time where the sport needed one to carry it through the rising boom it was experiencing. Yet Reardon was still able to deliver entertainment and display great character as he (among others) lit the flame that still burns bright to this day.


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Is The Break-Off Shot As Effective As It Can Be?

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The break-off shot in snooker hasn’t really evolved too much over the decades, leading us to believe that the figure-eight starter played by professionals is the best way to lead a match from a breaking player’s point of view. Is this the most effective way to break-off the start of a match and why aren’t other methods as successful?

For example, why don’t players shoot thinly off the back corner reds with minimal side and allow the cue ball to bounce off the bottom and side cushion rather than swing around the table utilising 3-4 cushions? The main reason for this is while it can sometimes result in the same outcome of wanting the cue ball to end up on the top cushion, there is a fairly decent chance the cue ball will career into a baulk colour.

The nature of this kind of shot will still pull a red or two into pottable positions so if a player did end up cannoning into a baulk colour then they will leave chances for their opponent. As snooker is quite a ‘percentage game’ where competitors like to play shots that they are likely to execute, some shots will be seen as too risky to try. This type of break-off shot can be seen as one of those shots that has a high chance of causing more problems for them rather than their opponent.

Other break-off shots that aren’t played (for obvious reasons) include smashing into the pack (from any direction), similar to pool. Due to the length of the table, size of the pockets and colours acting as obstacles, it is a very slim possibility that a red will be potted. And in the highly likely scenario that nothing is potted then you have left the entire world for your opponent. This kinds of breaks have happened in competition on rare occasions (search ‘unorthodox break shots’ on YouTube) with one instance including Neil Robertson fluking a red off one of these breaks.

What about resting in the pack? Well, it would be a bit of a waste of a shot. If a player rolled the cue ball into the pack as their break-off shot, they are completely forfeiting the safety advantage – which the break-off shot should be considered as – as well as playing a negative shot. Any time you leave an opponent with a shot that allows them to play up the table back to baulk from the bottom half gives them the opportunity to put you in trouble, as they don’t have to worry too much about pace as they would a full length safety shot from the top.

So it seems that we have the figure-eight break-off shot. Sometimes, if you play the figure-eight a little harder, it can bounce off the top cushion and lead to a snooker behind a baulk colour. Wouldn’t that be better? Again, it comes down to percentage shots. And it isn’t a guaranteed shot. In a substantial portion of shots played like this, the cue ball has a chance of running past the baulk colours completely and once again, leaving a pot on for their opponent.

Why is the figure-eight so effective? Firstly, it’s a shot that can be consistently played by professionals with a minimised chance of error that would be caused by alternative shots. Secondly, this minimised chance of error/cannoning means that maximum distance can be achieved between cue ball and object ball(s). Thirdly, this break-off shot can open up the pack sufficiently while still playing safe. There might be a better break-off shot out there; but is hasn’t been discovered yet.

It’s unlikely that the break-off shot was always like this. Playing conditions and equipment have changed drastically over time so that it probably wouldn’t allow for a break-off shot like this to have been done. However, this can’t be said with any certainty due to lack of footage but there are clips of Joe Davis breaking off in a manner that just used the bottom and side cushion.

What do you think? Is the break-off shot as good as it can be?


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World Snooker Championship 1927 (The First One!) – Throwback

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The year 1927 was significant for a few reasons. It was witness to the formation of Pan American Airlines; the start of Mount Rushmore; the birth of Sir Roger Moore; and the world’s population was just over 2 billion. It also happened to be the year of the inaugural World Snooker Championship, or as it was known then, Professional Snooker Championship.

Many are aware of Joe Davis and his impact on the table with his commanding 15 WSC victories, however his contribution off the table is what led to the development of the first professional snooker championship. Having shifted his interest laterally from English Billiards to Snooker, Davis was the key figurehead in the arranging of this first snooker tournament.

Davis partnered with billiard club owner, Bill Camkin, whose hall would host a majority of the matches that took place for this WSC. Davis formulated the draw and format which was then approved by the governing body at the time, BACC (Billiards Association and Control Council). Although their focus was primarily on billiards, public interest was slowing due to its repetitive nature, while snooker became increasingly popular as the years followed.

The thing I found most interesting about this tournament was that even though there were only nine matches, the entire WSC spanned the duration of around 6 months – from end of November through to May. Matches took place in halls across Birmingham, Liverpool, London and Nottingham. The venues had to be arranged by the players involved which is likely the main reason for the length of the whole tournament.

This tournament involved stars that mainly transitioned from being proficient billiards players, such as the three Tom’s (Newman, Carpenter and Dennis, who reached the final against Davis on many occasions). Other players included 1928 finalist, Fred Lawrence; seasoned professional, Albert Cope, who made the tournament high break of 60; World Billiards Champion, Melbourne Inman; and Joe Brady.

Unlike the decades that followed, this initial iteration of the WSC were contested over what we would consider, a shorter format. The most that matches were played up to (including the final) were a best-of-31 (first to 16). And Davis had a comfortable voyage to victory as he secured the first World Championship with scores of 16-7 in both the semi’s and final.

The players had to pay entry fees for the tournament, which were partly used by the BACC to purchase a trophy. Entry fees were 5 guineas per player – guinea being a currency made of a small ounce of gold which had an equivalent value of just over £1. Davis’ notable winnings of £6 and 10 shillings which encompassed the gate receipts is roughly equivalent to £6 and 120p or £15.60 as the conversions of pounds to pence were different back then.

It was a very different time, played under different circumstances and conditions nevertheless, the Professional Snooker Championship in 1927 paved the way for the snooker events that followed. It was also the beginning of the rising popularity that snooker experienced as well as the unbeatable force that was Joe Davis. If this wasn’t arranged, who knows how the landscape of snooker would look like today?


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Best Snooker Counter Clearance of All Time?

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This will be highly subjective as I’m sure a majority would select between Alex Higgins’ 69 break, one of Stephen Hendry’s many counter attacks or most recently, Judd Trumps’ spectacular 70 at the Players semi-final. However, personally, I find that this counter clearance had the perfect balance of pressure, shots, atmosphere and a player in top form, which I find myself re-watching time and time again.

Firstly, allow me to tell you my definition of a counter clearance. For my consideration, it is when a player has made a substantial break to the frame and his opponent is required to pot the rest of the balls to steal (likely from an unfavourable position, but not necessarily). This counter clearance must be a one-visit contribution.

If you haven’t garnered from the thumbnail already, in my opinion the best counter clearance of all time was Ronnie O’Sullivan’s 73 break against Mark Selby in the 2016 Masters quarter-finals. O’Sullivan was 5-3 up and Selby had just made a 70 break consisting of pinks and blacks meaning there were still 6 reds on the table with a possible 75 remaining. This included an extremely impressive ‘get out of jail’ double to keep his break going. Very rarely can players actually clear a table with this many points left in one visit due to the amount of work involved. Enter O’Sullivan.

Though it wasn’t immediately after Selby’s misjudged cannon, after a good safety from O’Sullivan with a poor follow up by his opponent, the table was set. Now, it wasn’t the most adverse table; there weren’t any balls on the cushion however, the blue was up in baulk and the reds were relatively close to each other to cause concern.

Shot 1. Definitely one of the best of the whole break. When your opponent has just made a 70 break, it’s fair that a player would feel resigned in that frame and chances to win it are unlikely. Granted, not impossible, and there was clearly enough on the table. However, O’Sullivan was probably preparing himself for the patented Selby comeback, and taking on this first shot of the counter would be a shot-to-nothing. So, he put everything into that shot, including possible position. Because there was no reason not to. Miss it; he moves to the next frame with a 5-4 lead. Sink it; let’s see how far we can make it. And it couldn’t have worked out any better.

The reason his first shot was immaculate was because of the cannon he had to get from it. Miss the cannon on the red left of the pink, and he likely would have been left with a significantly harder colour and who knows what the break would have been. But he got the cannon, knocking the red closer to the cushion and was perfect on the pink. Also, the shot didn’t touch the jaws. Not even close. If the pockets were half the size, it still would have been the perfect pot. You know what, I’m changing my mind as I’m writing this. This was the best shot of the break.

And the rest of the break was masterfully manoeuvred. Like a grandmaster moving his pieces on a chessboard while backed into a corner. O’Sullivan demonstrating his cool skill and demeanour as if he wasn’t 70 behind and required every single ball with high value colour to win the frame and match. He was able to position the cue ball so he could access the reds he needed to pot and by doing so, he was making the other reds available.

A few other key shots that were a treat to watch included a steep black to right middle and a tricky red along the cushion down to bottom left. Two shots that I thought were even more thrilling was the brown he had to pot and go all around the table to get to the blue up in baulk; and then the blue itself. What I enjoyed about the blue was that O’Sullivan could pot it to either right centre or corner due to where he landed. I reckon the easier shot would have been to right corner but for the sake of landing on the pink, O’Sullivan took the blue to right centre perfectly as he cleared up pink and black to win with a 73 break. He continued on to win the Masters that year.

One of the most extraordinary feats of this counter clearance was that it only took O’Sullivan around 5 minutes to do this. Any other player would have taken at least double this time as they would undoubtedly spend more time thinking per shot. Even more impressively was the ease at which O’Sullivan accomplished this. It’s universally agreed that no one makes snooker look easier than O’Sullivan and this break was a prime example. There were so many tricky shots throughout the counter which most players would have broken down on but O’Sullivan potted as if they were hanging over the pockets.

All coupled with the fantastic crowd support as the break was being strung together as well as astonishment in the commentary box as O’Sullivan just kept potting. Dennis Taylor’s words will always echo in memory when thinking of this break: ‘surely Mark Selby can’t make a 70 break and lose the frame…’ And I’m sure many remember the camera pan to Selby’s face as O’Sullivan potted the yellow. I honestly don’t think a single other player past or present would have been able to complete that counter clearance in the way that O’Sullivan did.

If you haven’t watched this break, click here to be redirected to YouTube and watch what I consider the best counter clearance of all time.


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