With a free afternoon in London before heading off to Minehead for the Butlins rock weekend I thought I’d take a look at the V&A’s Theatre and Performance exhibition. This permanent exhibition is about stage performance in its widest sense, but amidst the magnificently ornate costumes from nineteenth century productions of Shakespeare, a sparkling line-up of pantomime dame outfits and Dame Edna’s famous Sydney Opera House-shaped hat, there are a number of exhibits that are of particular interest to rock and pop enthusiasts.
From a small display devoted to Madness memorabilia, to stage outfits worn by the likes of Elton John and Jimmy Page, to a ukulele played by George Formby, there’s some interesting artefacts, even if the selection seems somewhat random.
L-r: Jimmy Page's peacock suit, Elton John's bicycle outfit and George Formby's ukulele
However, the exhibition really needs to be seen in it’s wider context to properly appreciate it and the way that twentieth century rock and pop acts fitted into a tradition of stage performance stretching back centuries.
Recreation of Kylie Minogue's backstage dressing room
If you are taking a trip to London’s museum quarter in South Kensington anyway it’s definitely worth taking a look at – and like all other permanent exhibitions in the capital’s main museums it’s completely free.
L-r: Coldplay's Chris Martin's stagewear and Adam Ant's Dandy Highwayman outfit
Situated in Plockton on the West Coast of Scotland, the National Centre of Excellence in Traditional Music first opened its doors to students in 2000. Uniquely, each year the Centre has produced a CD of material chosen and arranged by the students themselves. Featuring twenty-one musicians this year, The Final Trawl double disc CD features both traditional material and the students’ own compositions.
Writing in the album’s sleeve-notes Dougie Pincock, Director of the Centre, remarks:
“The student’s choice of Archie Fisher’s great but gloomy song as the title track is singularly appropriate given that the state of the Scottish fishing industry is one of the more contentious issues of the day. But while, as in the past, I’m happy to commend our young people for their political awareness, I’m always glad to be able to say that they counterbalance the doom and gloom with their creative energy and the joy they take, and give, in the creation and performance of their music.”
The Centre came about when, following devolution in 1999, the Scottish Executive established its Excellence Fund for education, and invited the 32 Scottish local authorities to submit bids for appropriate projects. Recognising the wealth of traditional music activity generated by the Fèis movement and others, the Highland Council submitted a bid for a residential Centre of Excellence specialising in traditional music. The bid was successful and the National Centre of Excellence in Traditional Music was established at Plockton High School in May 2000 with funding of £500,000 from the Scottish Executive’s Excellence Fund. The Centre is now directly funded by the Highland Council.
The CD is available for purchase via the Centre’s website
This review was originally published by Bright Young Folk here
The Tweed Project was originally formed in 2015, aiming to both celebrate and fuse English and Scottish traditional music. After a few years on the back-burner The Tweed Project is now back, performing a short tour last autumn and releasing this EP. With a new line-up, Greg Russell and Ciaran Algar are joined by vocalist Josie Duncan, guitarist Pablo Lafuente, piper and whistle player Ali Levack and percussionist Evan Carson.
Josie Duncan sings beautifully, whether it’s in English on songs like Dick Gaughan’s ‘Both Sides the Tweed’ whose message of friendship flourishing on both sides of the famous river straddling the English and Scottish borders is something of a musical manifesto for the band; or in Gaelic as on the wonderfully frenetic ‘B’fhearr leam fhin’. There is some splendid playing on the release, too, as one would expect from an EP packed full of past Young Folk Award winners. The combination of pipes, fiddle, guitar and percussion makes for some wonderfully atmospheric moods created throughout the EP’s six tracks.
For admirers of Greg Russell’s superb singing voice he makes just one lead vocal contribution, singing on the final track ‘Turn That Page Again’. A song about hope and optimism for the future, it concludes the EP in style.
With a refreshed and revitalised line-up and a release just brimming with virtuoso musicality, love and passion it is wonderful to experience the creativity of the Tweed Project flowing once more.
Released: Haystack Records 18th October 2019
Album review – Greg Russell & Ciaran Algar ‘Utopia and Wasteland’
Luke Jackson and Greg Russell & Ciaran Algar at Cecil Sharp House 2016
Greg Russell and Rex Preston at The Green Note 2015
Greg Russell & Ciaran Algar at The Green Note 2014
Send My Soul is the fifth studio album from singer song-writer Lorraine Jordan. Memorably described as ‘Celtic soul’ her music builds on her family’s Irish roots while also embracing more contemporary influences.
It’s a combination that works fantastically well and from the moment you put it on the album oozes soulful sophistication and captivating musicality. Indeed, such is the powerfully understated beauty of the title track that I had to double-check that this was a brand new song and not a modern interpretation of a long lost gospel soul classic.
Not only is Jordan is a talented songwriter with a passionate soulful voice she’s succeeded in assembling a suitably talented line-up of musicians for the album. Jordan’s own guitar and bouzouki playing is complimented by a sensitive yet wondrous accompaniment of mandolin, piano, strings, whistle and percussion that help give these songs such a unique Celtic-inspired flavour.
If Celtic soul is truly a thing then ‘Send My Soul’ is surely a classic of the genre. Jordan has delivered an exquisitely appealing album here.
Released: October 2019 by Hazellville Music
Moving out of London four years ago if I find myself at a loose end for a couple of hours on my visits to the capital these days I often try to fit in an exhibition. And as far as music lovers go there have been plenty to choose from in recent years, giving me opportunities to enjoy the Stones and Pink Floyd exhibitions, not to mention the exhibition on late 60s counter-culture ‘So You Want a Revolution?’ at the V&A and the ‘Rebel Sounds’ exhibition on music in war-zones at the Imperial War Museum. For that archetypal London band, the Clash, though there can only be one venue. So in the lull between Christmas and New Year I found myself getting a tube to the Museum of London to check out the ‘London Calling’ exhibition.
At first, seeing all the information panels about the band in 1979 and I thought I’d started at the wrong place. Other band exhibitions I’d seen always tended to feature some ‘early days’ displays – but then it dawned on me that the entire exhibition was dedicated to celebrating the Clash’s era-defining London Calling album rather than the entire band’s history. Released in December 1979 the exhibition celebrates the album’s fortieth anniversary. Ah, it all makes sense now!
It’s a small, compact exhibition taking up just a single gallery at the museum but it’s packed full of memorabilia: Paul Simonon’s smashed-up bass and Joe Strummer’s notebooks along with lyrics, stage gear, photographs and artwork. The latter looms large. With an album cover as iconic as this they absolutely go to town on the familiar pink and green typeface (borrowed from Elvis Presley’s 1956 debut album for RCA) and grainy black and white photos. There’s a nice little section on album producer, the late Guy Stevens, whose insane approach to production on the early Mott The Hoople albums so impressed Mott mega-fan, Mick Jones.
You don’t really need more than thirty minutes or so to take it all in but it’s an insightful exhibition that’s well worth taking a look at – and it’s all completely free.
The Clash: London Calling exhibition runs until 19th April 2020