A recent post from 'sussexlive.co.uk' informed me that this summer the 'Flying Scotsman' will visit Sussex's Bluebell Railway to mark 100 years since the A1 class locomotive entered service on February 24th 1923.

Officially the first locomotive to reach 100mph it was given the name 'Flying Scotsman' after the daily London to Edinburgh rail service.

Now I was expecting there to be various programmes on TV to mark this occasion, presented by one of the two Michaels (Palin or Portillo), but I see nothing in the schedules. So it's down to me then 😁

The music I have to accompany us on this steam-powered train ride is perhaps an acquired taste but should have you tapping your feet if not up and dancing the Highland Fling in celebration.  

Brandon McPhee, at the tender age of 14 (he is now 26 years old) plays 'The Flying Scotsman' Scottish Country Dance on his Hohner Shand Morino accordion > all aboard

 

This Hohner Shand Morino is an extremely sought after chromatic button accordion and is almost identical to the instrument that was played by the legendary Scottish accordionist and bandleader Sir Jimmy Shand. 

>>> "Thanks for watching" 

  

This week is slightly more about the story than the song. So if you are sitting comfortably I'll begin:

I found this text recalling a moment in history by Gordon R. Thompson, Professor of Music at Skidmore College. Here with a few edits from yours truly: 

Britons struggled as January introduced them to 1963. The biting cold and snow only reinforced a national funk incubated by French rejection of the UK’s application to the European Common Market, by the recurring strikes of power workers, and by the sudden decline of Labour Party leader Hugh Gaitskell's health. Families gathered around television sets waiting for news on Gaitskell’s condition, even as some had their electricity interrupted, leaving dark screens and colder rooms. With the recent Cuban missile crisis still in the nation’s minds and the international Cold War in its most frigid phase, viewers pined for some warmth.

When Parlophone released a second single by a new group on Friday 11 January, Keith Fordyce in the New Musical Express music paper wrote that it could possibly be the “record of the year”. He noted that the disc was “full of beat, vigour, and vitality — and what’s more, it’s different. I can’t think of any other group currently recording in this style.” 

Readers of the Record Retailer on Thursday 17 January would have observed that this new disc had nudged into the trade paper’s Top 50 Chart. That night, unions providing Britain’s gas and electrical service conducted a work slowdown, darkening much of the east and southeast of England, including London. Even Buckingham Palace felt the effects of workers who refused to work overtime without a new contract. 

On Saturday 19 January, newspapers carried word that the previous evening Gaitskell had succumbed to what doctors would later describe as an autoimmune disease. Harold Wilson would succeed him as the leader of the Labour Party. These same papers would also list the guests on that night’s edition of the television show 'Thank Your Lucky Stars', recorded in Manchester on 13 January and tape delayed. The trad-jazz clarinetist Mr. Acker Bilk and his band would headline the show, hosted by Brian Matthew with appearances by Petula Clark, Mark Wynter, Frankie Vaughan and others. 

That evening at 5:50 PM, 'Thank Your Lucky Stars' (on ITV) introduced The Beatles to their first national television audience. With the power back, families watching the flickering black-and-white image would have seen four grinning, dark-suited musicians with schoolboy hairstyles playing their instruments and singing (albeit miming) “Please Please Me.” Unlike Cliff Richard and the Shadows, Billy Fury and the Tornados, Marty Wilde and the Wildcats, and innumerable other British acts where a band backed a singer, The Beatles presented a refreshing and altogether new image British youngsters (and soon the World) would identify with. 

The four lads from Liverpool were at the bottom of a seven-act bill on the show. They performed just one song, 'Please Please Me' at the close of the programme's first half prior to the commercial break.
The rest is quite literally history. And it's probably fair to say things were never quite the same again !

On February 22nd 1963 the single was No.1 on the New Musical Express (the most recognised chart at the time) and the Melody Maker chart. However, it only reached No.2 on the Record Retailer chart.
In 1969 the BBC and Record Retailer joined forces to commission the British Market Research Bureau (BMRB) to compile the Official UK chart on their behalf. And that is why subsequently the first Beatles No.1 is officially 'From Me To You', when everyone who was there knows it was 'Please Please Me'.  

As this is only a 2 minute Pop song and I have not been able to find any footage of that first TV appearance, I have the following options for you: 
1. The screaming version (remember when you couldn't hear the music ?) click > Live 
2. The 45rpm record player version (probably how it sounded to us in 1963) > play  
3. Finally the best sound version (a still image of the LP cover) but in stereo ! > below

The album, released on March 22nd, 1963 included a track called 'Baby, It's You' composed by Burt Bacharach - so there's a nod to Burt who died last week.

 

An occasional music spot - remembering places around the World

      ' V I L L A G E '  P U B  C R A W L

[Above] - Is a picture I took of a poster in the Fox & Grapes pub - it shows 8 pubs in Wimbledon Village and is entitled 'Oliver Reed's Wimbledon Eight'. Here's a link to a bigger image to view > 'The Dog & Fox'; 'Rose & Crown'; 'Fox & Grapes'; 'Hand in Hand'; 'Crooked Billet'; 'The Swan'; 'King of Denmark' & 'The Brewery Tap'.

Link to the Oliver Reed story here >

Now back in the days of Ollie Reed and also the Merton Park football boys annual Christmas Drink it was actually 9 pubs and would begin in 'The Castle' and work its merry way round in a decidedly drunken clockwise direction ending in the 'Rose & Crown'. 

Notes for those historians out there: 'The Castle' closed 2000, became 'The Fire Stables' which is now more a bar/kitchen than a pub. 'The King of Denmark' closed in 2007 and was demolished in 2011 while 'The Brewery Tap' closed in 2011. So now it's only 6 pubs in total. 

Here's a 9-minute video from 2008 of a guy 'doing' the Wimbledon 8: travelling anti clockwise round the village - "pint of lager please" >

All this had me remembering the 'Rose and Crown' nights when musicians turning up and played in the 'old' public bar, the music was impromptu and everyone had a right good time.  

Reminiscent of many Irish pubs and much like this clip from the 'Transatlantic Sessions' recorded by the BBC (and re-run recently on BBC4). 

Here then from 1995 is 'Far From Home / [and at the 45sec mark] Big John McNeil'

The band comprises of Martyn Bennett (fiddle), Jerry Douglas, Danny Thompson, Phil Cunningham (accordion), Mairéad Ní Mhaonaigh (fiddle), Molly Mason, Michael McGoldrick (flute) and of course Aly Bain & Jay Ungar (more fiddles) 

I discovered a Spin off due to Oliver Reed moving to Carshalton in the 80s - as there's also a 'Carshalton 9' Pub Crawl poster. 

Cheers 🎶

   

A month ago I received a Fairport Convention email-out with news about this year's Cropredy Festival. Running down the list of artists booked there were quite a few names new to me. So based on the brief descriptions provided and a strong sense that if the Fairports like them there's a good chance I might too, I 'googled' some names that sounded interesting:

> Striking harmonies, energetic rhythms, catchy songs and a fiercely formidable live act – Morganway have made quite the impression on the UK’s rising Americana scene. Reminiscent of Fleetwood Mac, they have been described as “One of the best and most exciting prospects to emerge in a long time”.

That's how I got to find Morganway a six-piece from Norfolk, founded by twin brothers Callum and Kieran Morgan. And I've been listening to their music a lot ever since. Today's Star Track is the title song from a new album (out in May) called 'Back to Zero' >

There's plenty of videos on the groups website and YouTube.

From their 'Live at Epic Studios' CD there's 'Hurricane' > click link 

And I recommend a listen to these tracks 'I Want No Other love'; 'Let Me Go' [very Fleetwood]; 'The First Day'; 'The Sweetest Goodbye' & 'London Life' 😀 

   

"From the original Prog Rock founding fathers in the 1970s to a new wave of progressively minded artists and bands currently part of a 21st Century resurgence". So wrote Jerry Ewing 'Prog' magazine editor, a few years back.

The same elements that marked the original genre are captured in new prog epics by a whole host of bands. One being Transatlantic - an American/Swedish/English Supergroup comprising Neal Morse [ex Spock's Beard] on keyboards, vocals, guitar; Mike Portnoy [ex Dream Theatre] drums, vocals; Roine Stolt [Kaipa & The Flower Kings] guitar, vocals, keyboards and Pete Trewavas [Marillion, Edison's Children] on bass & vocals. They released their fifth studio album in 2021, called ‘The Absolute Universe’ in three formats: ‘The Absolute Universe: The Breath Of Life' (Abridged Version)’ and 'Forevermore (Extended Version)’, with a deluxe edition that combines parts of both. Naturally it's a concept album about the World's struggles in 2020. 

A track from the Extended Version: 'The World We Use To Know' is a near 10 minute song, begins with a guitar solo, but you just know another is not far away [at 5:40] 

FULL Screen is a must for the excellent video [and following the little spaceship]...

Further recommended listening: 'Rainbow Sky' and the final album track 'Love Made a Way' which doesn't want to end 😁 - typical 'Prog'

Plus check out from the 2009 LP 'The Whirlwind', tracks 'Rose Coloured Glasses' & 'The Wind Blew'.