It’s a small error, as they go, but it has been around for at least 40 years, and it appears everywhere from Michael Jackson’s World Guide to Beer to the labels on bottles of Harvey’s Imperial Extra Double Stout, so let’s try to stamp it to death: Albert Le Coq was NOT a Belgian.
Le Coq is remembered as a 19th century exporter of Imperial stout from London to St Petersburg, whose firm eventually took over a brewery in what is now Tartu, in Estonia to brew Imperial stout on what was then Russian soil. The brewery is still going, it took back the name A Le Coq in the 1990s, and an Imperial stout bearing its brand has been brewed since 1999, though by Harvey’s of Lewes, in Sussex, not in Estonia. But every reference to the company founder, Albert Le Coq, apart from in the official history of the Tartu brewery – which is almost completely in Estonian – says he was a Belgian. He wasn’t.
In fact the Le Coq family were originally French Huguenots, who had fled to Prussia in the 17th century from religious persecution in their home in Metz, Lorraine, after the revocation of the Edict of Nantes by Louis XIV in 1685. They prospered in their new home, operating mostly as merchants, though one, Paul Ludwig (or Louis) Le Coq, (1773-1824), the great-grandson of Jean Le Coq, born in Metz in 1669, rose to be chief of police in Berlin. It looks as if Paul had a brother, Jean Pierre Le Coq (1768-1801), born in Berlin, who was a merchant in Hamburg, and his branch of the family also became wine merchants, owning a winery in Kempten, near Bingen, on the borders of the Prussian Rhineland.
The year before Jean Pierre died he had a son, born in Berlin (although some sources say Bingen), called Jean Louis Albert, who became better known under the German version of his name, Albert Johann Ludwig Le Coq. Plenty of sources going back to at least 1939 claim the family company was founded as A Le Coq & Co in 1807, when Albert was just seven years old: there seems no documentary evidence of this, however. Nor is it clear when, and by whom, the wine business in Kempten was acquired. At any rate Albert was living in Kempten in 1827, when his eldest child, Andreas August, was born there. Continue reading Albert Le Coq is NOT a famous Belgian→
If you haven’t bought your 2016 Fuller’s Vintage Ale yet, either to drink now, or to lay down for later, or to preserve as an investment (what with examples from the 1990s selling for up to £500 a bottle, and even the 2013 costing £40 a pop), tough tubas – there’s none left. Waitrose is totally sold out, so is the brewery shop. Luckily I had a hunch my local specialist, Noble Green in Hampton Hill, might have some, and I manage to snaffle their last five examples.
Fuller’s is being tight-lipped about why the 2016 is now impossible to find: there are rumours that something went terribly wrong with the packaging, but no one seems willing to say. It’s a great pity, because the 20th iteration of Vintage Ale since it was first brewed in 1997, is a lovely, lovely beer, already, at approaching a year old, deep and remarkable. This was the one with Nelson Sauvin as both a boil hop and an FV addition, the first time, I believe, that Fuller’s has used New Zealand hops in VA, and it works brilliantly: there’s limes coming through, and passionfruit, and mandarins, and a little bit of that Nelson Sauvin elderflower, all beautifully integrated over creamy toffee and deep brown malt sweetness, with just enough bitter (40 IBUs) to hold everything together. You’ll drink one bottle, and enjoy teasing out all the flavours so much you’ll want another one to continue the analytical fun, and then at the end of that one you’ll stand up and wobble slightly and realise you’ve just drunk a litre of 8.5 per cent ale.
How the 2016 will develop as it gains more age remains to be seen, but Fuller’s had a gathering in the Hock Cellar at the brewery a couple of weeks back to celebrate the 20th anniversary of Vintage Ale with a tasting of ten different examples going back to 1999, and all are still very drinkable. John Keeling, Fuller’s brewing director, who helped the late Reg Drury brew the first Vintage Ale in 1997, conducted the tasting and revealed a few secrets about the beer. Vintage Ale was, he said, an idea first put forward by the marketing department at the brewery – “they do get a good idea every 40 years or so.” However, Fuller’s knew something like Vintage Ale was possible after bringing out 1845, a bottle-conditioned strong ale made originally to celebrate the 150th anniversary of the Fuller, Smith and Turner partnership in 1995, and discovering that it actually tasted better at 12 months old than when it was new – “totally the opposite to every other beer at that time”.
A beer has to be specifically designed to age, Keeling said: “Most beers will not age properly.” After 20 years, Fuller’s now has considerable experience in how beers age, with the interplay of negative reactions – notably oxidation – and a whole series of generally more positive chemical changes, such as Maillard reactions between sugars and proteins, which happen at different speeds, while at the same time alpha acids are breaking down, reducing the perceived bitterness (and boosting the perceived sweetness) and adding extra complexity of flavour, the colour of the beer is darkening and “madeira” and “sherry” flavours start appearing, and eventually “cherry” flavours, which you can cerrtainly spot in the older Vas.. The different speeds that the “good” and “bad” reactions take place at gives a “cycle” to beer ageing, which explains why that bottle of 2013 VA may taste disappointing now, but one of its brothers will be terrific if left for another nine months – and a third bottle of the same brew will disappoint another nine months after that, which a fourth, left for longer yet, will again cheer and enchant as it comes back “on” … you can regard this lottery-like aspect of beer ageing as annoying or part of the fun, but it does mean you shouldn’t dump the whole batch just because one aged bottle is disappointing. It may be just at a poor spot in its cycle.
One important aspect of beer ageing is that temperature is important – and room temperature is the worst temperature to store beer at, Fullers has discovered. It appears the oxidation cycle at around 20C is happening too fast for the “good” cycles to compensate. Either keep the beer cool, or, counter-intuitively, keep it warm: with the warmer beer, the “good” reactions are speeded up more than the “bad” ones, so the oxidation is outpaced. (Doubtless this was the clue to the success of ship-borne India ales in the 18th and 19th centuries, with the oxidation of beer in the casks lagging behind all the Maillard reactions and so on made extra-fast by the warm Equatorial seawaters of the mid-Atlantic and the Indian Ocean.)
VA is always parti-gyled with London Pride, which raised a question: each year the recipe is altered slightly, with different hops and combinations of hops. Have Pride drinkers never noticed over the past two decades that every spring their beer tastes rather different, from the Fuggles and Target of 1999 to the all-Goldings of 2002 (that year’s VA was always a personal favourite, and it’s still wondrously smooth aged 15), the Goldings, Liberty and Cascade of 2014 and last year’s Nelson Sauvin, Goldings, Northdown and Challenger? I’d love to know if anyone has ever commented … see if you can spot the “Vintage Ale” gyle this year.
My local little Tesco supermarket – and probably your local Tesco as well – is currently selling for 89p a 50cl bottle of 3.8 per cent abv amber ale made with Fuggles and Goldings hops at a 140-year-old Midlands brewery. What is worse, or better, depending on which direction you wish to drive in from, is that it’s an excellent beer, a very fine example of a classic English session bitter, only lightly carbonated, balancing with calm skill on the knife’s edge between mouth-filling bitter and delicate sunny malt sweetness, a long afternote bringing a reminder of oranges and a touch of currant cake, as moreish as any brewer could wish. If every bottled beer were as good, Britain’s drift towards much more drinking at home would become a stampede. But the price! Beer hasn’t been that cheap in a pub for nearly 30 years. It’s a crime against economics, and a threat to every other brewer, great and small, trying to scrabble a living selling good beer on thin margins. How and where is anyone making a profit? The duty alone has to be 35p a bottle, and the VAT 18p. I cannot believe the manufacturing and distribution are less than 20p a pop, leaving 16p for the retailer: a GP of 18%. A normal business would go bust pretty swiftly on that kind of mark-up. Dear reader, how do I match the exceeding, and exceedingly cheap, pleasure I get from this beer with the guilt I wrestle to suppress, fearing that every bottle I buy pushes a Heriot-Watt graduate working for a small brewer utterly unable to compete on price with an 89p cracker closer to redundancy?
I’ve taken part in many beer-related events in the upstairs room at the White Horse in Parsons Green, from tasting porter rescued from a 19th-century shipwreck to making a presentation on my historical beer heroes, but I never thought I would one day be helping to brew a lager there. Even more unlikely, this lager was made with genuine Plzeň well water – and it stood a fair chance of going into large-scale production.
The event was organised by Pilsner Urquell, the invitation came from Mark Dredge, to whom I am extremely grateful for such a fun day, it was called the London Brew-Off, and it involved three teams of beer enthusiasts, each put in charge of a 20-litre Speidel Braumeister brewing kit, handed four kilos of ground Czech malt, pointed to bags containing a selection of other speciality malts and eight or ten different hop varieties, and told to think up a recipe for a pilsner that would be good enough to go on public sale, using those ingredients, and then brew it. Our raw, hopped wort would be cooled, then have proper Pilsner Urquell yeast added, and be taken away for fermenting and lagering and, finally, bottling. On Tuesday July 15, that is, just over six weeks later, all the lagers the teams had made will be test-tasted, and the best one will be put into full-scale production – 30 hectolitres, 5,270 pints by Windsor & Eton Brewery, ready for the White Horse’s Euro Beer Fest in September. Continue reading How I helped design a new lager at the White Horse→
I’ll forgive myself for never having heard of 961 Beer, because its products are apparently not yet on sale in the UK. But they ARE available in Hong Kong – and 961 Lager has just been declared the best lager in the city, after the blind tasting by me and 11 other judges I blogged about last month.
Those of you with an encyclopediac knowledge of international dialling codes will recognise 961 as Lebanon: the brewery, based in the village of Mazraat Yachoua, six miles or so north-east of Beirut, is now six years old and claims (I’m sure it’s true) to be the only microbrewery in the entire Arab world. It triumphed over 38 competitors in the lager category at the 2012 Hong Kong International Beer Awards, suggesting strongly that founder Mazen Hajjar, who started the operation in his kitchen, knows what he is doing.
British winners were BrewDog, which came top in the Amber Ale category with 5am Saint; Saltaire, which took the Stout first prize, with Triple Chocoholic; Little Valley, from Hebden Bridge, Yorkshire, in the Organic category with Python IPA; and in the “British Style Ale” category, Strong Suffolk from Greene King. That wouldn’t be my personal first choice for a “British Style Ale”: I’ve always had a problem with Strong Suffolk, it’s a beer I really want to like, because of the almost unique way it’s made, by blending an aged 5X old ale with a younger Burton Ale, and yet every time I try it I go away underimpressed. However, I’m glad it won, simply because I hope it encourages Greene King to carry on brewing 5X.
Pacific Coast American craft brewers also swept up four of the prizes, a sign of the boom in imports of microbrewed beers from the West Coast US to Hong Kong in the past 12 to 18 months. The Californian North Coast Brewing’s Scrimshaw took the Pilsner prize, Rogue of Oregon won both the Pale Ale category, for its Chatoe OREgasmic Ale, and the Brown Ale category, with its Hazelnut Brown Nectar, and another Californian operator, Mendocino Brewing, had the top Bock with Eye of the Hawk.
Despite strong competition from American craft brewers, the “Belgian Style Ale” winner was a proper Belgian brewer, Brouwerij Huyghe (best known for Delirium Tremens) of Ghent, with Artevelde Grande Cru, and Huyghe also walked off with the prize for best Fruit Beer with Floris Fraise. The Wheat Beer prize went to a German entry, Hopf White, from Weissbierbrauerei Hopf in Miesbach, in the far south of Bavaria.
The big surprise, however, was the winner in the IPA category – not an American, but Feral Brewing, from Baskerville, Western Australia, with its Hop Hog. Indeed, the judges loved this beer so much, they gave it the highest number of points of any of the more than 250 entries in the competition, meaning Hop Hog also carried off the palm for Champion Beer of the 2012 Awards.
Reports say the microbrewing scene in Western Australia is booming: hopefully Feral’s success will encourage more brewers from there to look north to the market in Hong Kong.
(Addendum: apparently Feral was extremely surprised to win, because it didn’t even know the competition was on, let alone that it was entered.)
Have public perceptions of beer styles become so skunked that it would be a marketing disaster to call a beer by its proper name? On a rare trip to Sainsbury’s I picked up something from the supermarket chain’s current Taste the Difference beer range that it calls “Celebration Ale”, and which announces itself as “A rich, dark winter warmer”. It’s brewed by Black Sheep of Masham, which is a recommendation, for me, and since I couldn’t see McEwan’s Champion Ale on the shelves (a truly excellent Edinburgh Ale/Burton Ale) I though it might make a good substitute.
I know I’m not the average supermarket beer shopper – I write a beer blog, for a start. So my expectations might well not be the same as everybody else’s expectations. But when I see a 6 per cent abv beer described as “a rich, dark winter warmer”, I’m expecting something ruby-coloured, fruity, strong and slightly sweet, though, hopefully, with a good bitter kick. Back home, however, when I opened “Celebration ale”, it poured dark brown-to-black, with a firmly chocolate-roast nose.
A look at the back label (printed, as is typical for back labels, in the tiny 4pt type that requires anyone over 45 to find their glasses) shows that this is in fact, as you’ve probably guessed, not an Owd Rodger-style ruddy ale but “a dark, velvety stout”. Indeed, the allergy-alert ingredients listing on the back reveals that “Celebration ale” contains “cow’s milk”. What that must mean is milk-derived (and unfermentable) lactose sugar: and there’s only one style of beer I know that contains lactose. Yes, “Celebration ale” is not just a stout, it’s a milk stout, albeit a milk stout that seems afraid to reveal itself as such.
Why? I can imagine Sainsbury’s corporate lawyers might fear the wrath of the neo-temperance army if they sold a product with the word “milk” in its description that contained alcohol (supermarket promotes beer to milk-drinking children shock! horror!), but that doesn’t seem to have stopped the Bristol Beer Factory promoting its own Milk Stout, with pictures of milkmaids and cows.
Is it the word “stout” that is the problem, fit today only to be printed in tiny letters on the back label, in case it frightens the shoppers? Is “stout” so completely associated with the Guinness-style product that Sainsbury’s fears that non-Guinness drinkers won’t buy a beer too clearly labelled a stout, and that Guinness drinkers will take the bottle back once they try it and find it’s nothing like the beer they’re used to?
Whichever, it’s a backwards step in beer education if a major UK supermarket feels it cannot describe properly a beer appearing under its imprimature, in apparent fear that the beer-buying public won’t understand accurate terminology. If you’re selling a milk stout, Sainsbury’s, call it a milk stout, not “Celebration ale” or “dark winter warmer”. THEN we can celebrate.
Very few beer brands survive today that have modern examples to put into a worthwhile four-decade vertical tasting. That’s simply because forty years ago there were hardly any beers being brewed that had the longevity to be still drinkable when even the most junior brewer involved in their production is now at or approaching retirement age.
It wasn’t looking good for Courage Imperial Russian Stout, which was one of less than a handful of strong beers capable of great age being brewed in the 1970s and which stopped being made in the early 1990s despite a history going back more than two centuries.
But Courage IRS, doubtless in considerable part because Michael Jackson’s World Guide to Beer in 1977 featured it across two pages, has inspired a huge number of imitators in the US and created an extremely popular beer style in the process.
When the Bedford brewer Wells & Youngs acquired the rights to the Courage beer brands from Scottish & Newcastle in 2007, the first two beers from the old Courage stable Wells produced were the Best Bitter and Directors Bitter. But I am sure it quickly occurred to the company’s marketers that here was a chance to bring back a truly iconic beer, which would surely have an instant appeal in the US as the ur-IRS, the Imperial Russian Stout in honour of which all others are named.
Thus in May last year the Bedford brewery produced the first new brew of Courage Imperial Russian Stout for 18 years, two bottles of which they’ve been kind enough to send to me, to my great delight, as I love a good IRS. And because I’m the sort of sad nerd who stuffs bottles of beers away for decades, I was able to pull out examples of Courage IRS from 1975, 1985 and 1992 to compare against the latest version. Continue reading Courage IRS: a 40-year vertical tasting→
The ability to deny the evidence of your senses is widespread. There’s the dictator insisting to television interviewers that his people love him, while across the country those long-oppressed people are taking up arms and waving the flag of liberation. And on a much less serious plane, there are people who will insist two beers that look totally different, taste totally different and are produced in totally different ways are variations of the same type.
It’s like setting up a category “horse” and insisting the seahorse and the clothes horse are its sub-categories. That’s slightly more ridiculous than insisting that Newcastle Brown Ale and Mann’s Brown Ale are sub-types of something called “English Brown Ale”. But it involves an identical confusion between “name” and “category”.
I don’t actually have any problems with the idea of “beer styles”. Labels can be very useful. But only if they’re meaningful. When I read that someone is going to be brewing “an English Brown Ale”, I have no idea what sort of beer they are intending to produce.
Look, here’s Newcastle Brown Ale, the urtyp “northern brown ale”, so-called. It’s “brown” only in the sense that if I had a pair of shoes that colour I would probably call them “brown”, if I didn’t call them “tan”. The beer is made – or was made, the method has changed, certainly since production was moved from Tyneside to Tadcaster in North Yorkshire – by mixing a low-gravity beer brewed at about 1030 OG (and sold separately for many years as Newcastle Amber Ale) with a matured, darker (from crystal malt and caramel) high-gravity beer to produce a blend with an abv of 4.7 per cent. The high-gravity beer gives fruity notes to the blend, and a final colour that is much the same as or only a little darker than many traditional English bitters, and certainly paler than, for example, Young’s Winter Warmer (which is a Burton Ale). The sweeter, maltier characteristics are more forward than you’d find in a bitter/pale ale, and there’s less of the hop apparent than would be found even in a Burton: bitterness, I believe is 24 IBU.
Then there’s Mann’s Brown Ale, the urtyp so-called “southern brown ale”. Brown? It’s almost black. That colour comes from roasted malt, and as you’d expect this is a beer with distinct chocolatey, roasty flavours (though less than you’d find in a stout or porter). It also has considerable sweetness (another one of the differences between this style of brown ale and stout – and Newcastle Brown Ale) and almost no hop character (brewers would use Mid-Kents and other non-premium hops for brown ales, and old hops as well, where the aromatic qualities had vanished but the preservative ones remained). Apart from the name also containing the words “brown ale”, Mann’s is utterly different from Newcastle Brown Ale. How can anyone with their brain not in “standby” mode think it works at all to ram these two very dissimilar beers under a single category called “English brown ale”?
There’s a simple rule for most modern bottled beers when it comes to ageing: don’t. It’s not worth it. Probably the vast majority of beers are designed to be drunk fresh, and all they will do if you keep them is deteriorate. However, a few beers actually need ageing before they’re in perfect condition, even if only for a couple of weeks to a month (in the case of lower-gravity bottle-conditioned ales) and some need even longer than that: nine months to two years before they’re drinkable.
For example, when bottled Guinness Extra Stout (at 4.2 per cent abv) was a “live” naturally conditioned beer (until 1994 in the UK and 2000 in Ireland) the expected number of days after bottling before the beer came into condition was seven to 14, with an average of 10 days. (This depended on the ambient temperature that the beer was stored at, of course, and it was the fact that, thanks to the arrival of central heating, pubs were much warmer inside by the 1980s that Guinness decided it needed to stop letting its stout mature naturally in the bottle: hotter pubs meant faster maturation meant the beer in the bottle was not in the condition Guinness wanted when it reached the customer’s glass.)
The stronger Guinness Foreign Extra Stout (7.5 per cent or so abv), when that was a naturally conditioned bottled beer, before 1948, required six weeks of conditioning after bottling but was then expected to remain in a perfectly drinkable state for at least a year. Lactic acid content increased as the beer aged in the bottle, but was balanced by the production of esters and other volatile components in the maturing beer, and the lactic acid was believed to add to the “fullness” of the flavour. Brewing chemists at Guinness found that yeast could survive in bottled FES for up to 35 years, suggesting that a beer could continue to mature for at least that long.
Worthington White Shield, the 5.6 per cent abv bottle-conditioned India Pale Ale, is considered to take four weeks from bottling to come into prime condition, and to stay in condition for another nine months. After that, the beer is likely to be in a less than optimum state. Anecdotal evidence suggests that White Shield will come back into condition at 15 or 16 months old, albeit with an altered taste profile. It will not, though, survive much beyond about 24 months without showing signs of deterioration.
It’s an interesting experiment to take a crate of newly-bottled lowish-gravity bottle-conditioned beers and taste them over three or four months: when I had a wedding stout made for me by the Pitfield brewery, which was bottled “live” in June at around 5 per cent abv, it hit perfection (and very fine it was) two months later, in August. After that it gradually went downhill (unlike, I’m happy to say, my marriage).
My experience is that the effect of bottle ageing on beer varies considerably depending on (1) the alcoholic content of the beer (2) whether it is bottle-conditioned, that is, contains live yeast, or not (3) the conditions under which the bottle is kept and (4) the colour of the beer, with darker beers ageing better than lighter ones. I’ve drunk a 20-year-old pasteurised 8 per cent abv stout that was fine: I doubt the same would be true of a pale beer that old, even one that strong.
A few weeks ago I went to a performance by Wynton Marsalis, whose music I have been buying since the early 1980s. He arrived then as a young trumpeter who could play jazz and classical music with equal genius: I remember listening to his recording of the Hayden Trumpet Concerto in 1983 and feeling that every note he blew was placed in exactly the spot required: not a femtosecond too early or late, too long or too short. At the same time it was Hayden’s music, but played by someone who was aware of everything that had happened after Hayden.
All the work he’s done since, I think, has been while standing on that same platform: technically impeccable, respecting the music’s history, recognising that we listeners come with modern ears. I commend to your own ears Mr Jelly Lord, his CD from 1999 of Jelly Roll Morton tunes first put down by the fellow New Orleans master 75 or so years earlier. It’s properly Morton, but played by people who are aware, and who know that we the audience are aware, of bop and other developments in jazz history in the decades since Morton’s death.
And yet … I came out of the Marsalis concert feeling that I had listened with real enjoyment to musicians who had played flawless improvisational jazz, rooted in the music’s history, though with enough of a flavouring to show this was not merely a reproduction, a tribute band. But I wasn’t blown away. Was that evening much different to listening to Wynton Marsalis on CD? Not a lot.
Seven days later I saw a performance by the Zawose family from Tanzania – and if you don’t have a grin across your face within 45 seconds of starting to watch those ladies, have yourself checked by a doctor: you may be dead. Fantastic, exhilarating, explosive: as a live experience they shove Wynton Marsalis off stage and out the door. I wouldn’t want to buy their CD, though. The Zawose family are an excellent illustration of a great live act that won’t reproduce well on an MP3 player, or similar sound-only recorded music deliverer. Tremendous visually, fantastic enthusiasm, send you home very happy, but paddling about in the shallows musically.
What has this got to do with beer? Only that while I was thinking about the difference between live and recorded music, and how ultimately live music, when it’s good, is unbeatably superior to the best recorded music, because nothing surpasses the enjoyment of being there while it’s happening, it occurred to me that I have similar feelings about cask beer, proper live maturing-in-the-cellar brews, and bottled beer.