Crewe Station Signal Boxes

Crewe Station 'A', Crewe Station 'B' and Crewe No. 3 were fascinating signal boxes because they were within the station itself, controlling the crossovers in the middle of the long, main platforms. Two trains could use a single platform, arriving and departing independently by using the crossovers which connected with the adjacent 'Through' line. Back in the '50s when I first visited Crewe, many trains split or combined at Crewe and restaurant cars were frequently added or removed, so there was always plenty of activity.

Crewe Station 'A' was halfway along platform 1. Thankfully, when it was abolished, it was carefully taken down and re-erected, with the lever frame and block shelf, in Crewe Heritage Centre. It was of 'composite' construction with a brick base (using bricks matching those used in the station buildings) and wooden-framed windows of standard L&NWR pattern on the operating floor. Unusually, it was flat-roofed, as it was situated beneath the station overall roof.

Crewe Station 'B' was halfway along platform 2 and had a similar design to Crewe Station 'A' Box.

Crewe No. 3 was elevated on a 'bridge', set above the Up Through and at right angles to the running lines. It was outside the overall roof, so had the usual gabled roof.

The boxes formed part of the Crewe remodelling which took place between 1896 and 1907 and all used the 'Crewe' All-Electric System, with miniature lever frames of the type shown in the picture above. The L.M.S. replaced the original electric semaphore signals with colour lights and British Rail introduced B.R. Standard Block Instruments but the boxes remained recognisably L&NWR until they were abolished.

More pictures of Crewe Station 'A' Box.

References:
For more detailed layouts of Crewe Station in the 1950s, refer to the Signalling Record Society publication 'British Railways Layout Plans of the 1950's Volume 1: ex-LNWR main line, Euston to Crewe' (ISBN: 1 873228 00 7).

Driving Turn at Peak Rail - Part Two: Driving Experience

In Part 1 of this story, I described the preparation of Peak Rail's 0-6-0T WD150 'Royal Pioneer' (Pictures) for a typical day's work.

Once preparation is complete, the first two hours in traffic, from 8.30 a.m. to 10.30 a.m., are generally devoted to Driving Experience Courses, described below.

Driving Experience Courses (also marketed under various similar names) allow an unqualified person to enjoy the experience of handling a steam locomotive under the supervision of a qualified driver. The idea really 'took off' in 1992 when Birmingam Railway Museum introduced courses which included driving a 'Castle' class locomotive on the short Demonstration Line. These proved so popular that other preserved railways started to offer similar opportunities. I was involved in the Birmingam Railway Museum courses for a number of years and I recently made a return visit during the 'Tyseley 100' celebrations. I've subsquently been 'Instructor Driver' at the Battlefield Line, the West Somerset Railway and, latterly, at Peak Rail. This has involved many different locomotives, varying from the diminuitive Peckett saddle tank 'Kilmersdon' to the world-famous 'Flying Scotsman'.

The usual format for the Driving Experience at Peak Rail is where the Trainee joins the qualified driver and fireman on the footplate for either one or two hours. During that period, the Trainee drives and, if they wish, fires a light engine, under supervision, on a number of return trips between Darley Dale and Matlock Riverside. Candidates must be adults and they are mainly men but we are always delighted to welcome ladies. Reasonable physical health is desirable but the demands are not too onerous - the worst part is perhaps climbing onto the footplate from ground level. Trainees' backgrounds vary widely, from committed lifelong steam enthusiast to just a general interest. Some trainees are fascinated by the art of firing, some only want to drive. Some trainees want a lot of technical explanation, others like swapping anecdotes. As far as possible, we try to adapt each course to the individual trainee's preferences. I've tried to give a general flavour of a typical course below.

"Am I in the right place?" asks a man, already in overalls, as I cross the road between the loco yard and Darley Dale station around 8.20 a.m. Introductions are made. The trainee is accompanied by his wife and the experience is a present from his family to celebrate his 60th birthday. Whilst we're chatting, the official Peak Rail 'Meeter and Greeter' arrives, loans suitable Personal Protective Equipment to the trainee, issues the Train Staff (which will allow the locomotive to run on the single line from Darley Dale to Matlock) and looks after the trainee's wife. By the time we're back at the locomotive, the fireman is ready to leave so further introductions are made when the trainee has clambered onto the footplate. A footplate is a dangerous place, so warnings are issued about the various risks - burns, scalds, slips, trips and falls. There can be a lot of coal dust blowing around so eye protection is available. Like most of our trainees, today's visitor has a general interest in railways and has long harboured an ambition to drive a steam locomotive.

When suddenly presented with the mass of controls within the cab and the heat and smells of the footplate, the prospect of driving can seem a little daunting, but we try to simplify the process. "Let me move the engine onto our running line while you watch, then I'll explain the driving controls and you can take over. I'll be right behind you all the time". First movement of the day is always important. During preparation, the driver will have thoroughly examined the locomotive but movement will offer a host of further clues as to the condition of the engine. Every noise needs to be identified and each wisp of steam analysed to satisfy the driver that the engine is in a suitable condition for the work to be done. We slowly move towards the points giving access to the running line, where a set of trap points, currently in the 'throw-off' position, are set to deposit the locomotive 'in the dirt' if we fail to stop. Having explained this to the trainee, I usually add "so we'd better see if we've got a brake" as I make an initial application of the steam brake. At this stage, the fireman has not always obtained full boiler pressure - not a problem as long as the driver allows for the resulting reduced brake force. Having stopped just short of the traps, the fireman climbs down with the Train Staff which will unlock the ground frame, allowing the running line turnout and the traps to be set so as to allow the locomotive to leave the yard.

Once the fireman signals that he's set the road, I visually check the position of the points, then move the engine forwards onto the running line just clear of the points. Then I wait for the fireman to restore the points and signal that he has retrieved the Train Staff, before setting the engine back level with the ground frame, to save the fireman a walk. When the fireman is back on the footplate, with the single line staff, the trainee is ushered into the space between the right hand cab sheet and the reverser. "Right, now it's your turn. There are three driving controls you have to worry about to start with - reverser, regulator and brake. The other bits and pieces we'll introduce later".

"This lever is the reverser. Standing straight up is called 'Mid-Gear'. You shouldn't really call it 'Neutral', because the way valve gear on a locomotive works isn't like a gearbox on a car. Push the lever forward to go forwards, pull it back to go backwards". I demonstrate and make sure the trainee is happy. We always start in 'Full Gear' to generate maximum torque. This is because we may have stopped with either cylinder on 'dead centre', in which case the initial movement relies upon the other cylinder. 'Full Gear' helps to ensure that the locomotive does not get stuck. Once in motion I'll get the trainee to 'Link-Up' by adjusting the reverser to cut the steam off earlier in the piston's stroke.

"This L-shaped handle is the regulator, which allows steam out of the boiler into the steam chest to make the engine go. The handle moves in an arc so as to rotate the regulator rod which passes through the boiler and works the actual regulator valve mounted in the dome up there on top of the boiler. As you move the regulator, first you take up the slack in the system, then it gets a bit hard to move because you're trying to slide a flat regulator valve across a port face against the steam pressure holding the valve pressed against the port face. You may find it easier to control if you use both hands. You should avoid pushing hard and getting a wide regulator opening as this'll make the engine take off like a jackrabbit, which wouldn't be very comfortable for any of us. It's worth taking your time and just going nudge - nudge - nudge. Make tiny movements until you find the point where you hear steam start to flow. Then, nudge a little further until you hear a 'click' from the front of the engine as the steam valves 'seat' and that's enough to move the engine away. Once the engine starts to move, wait and see what effect your regulator opening produces then, if necessary, make another small adjustment. It sounds a bit long-winded but you'll soon get the feel of it and, this way, you'll make a gentle, professional start. Now, although you should always be very gentle opening a regulator, shutting it prior to stopping is just the reverse. Once the regulator valve is opened, the effect of steam on the valve is to prevent the valve from shutting properly. So don't mess about - bang the regulator shut very firmly and make sure the regulator handle is firmly against the stop at the end of the Regulator Quadrant. That way, you know the steam supply is cut off".

"This little handle, with the ratchet, is used to apply the steam brake to stop the engine. Even without a train, this engine weighs around 50 tons when full of coal and water. That's more than a juggernaut going down the motorway. When you shut off steam, the engine usually keeps on rolling, so the most important control is the Brake. A vacuum brake system has been fitted, so that we can work passenger trains, but for non-passenger work, the locomotive itself has a graduable steam brake. You'll be using the steam brake. Move the little handle towards you and steam is admitted to the brake cylinder under the cab. The steam forces a piston down the cylinder and a piston rod (connected to the piston) actuates the brakes. If you keep your finger curled round the brake trigger, you can release the brake, run on a bit, and brake again, slowing down nice and gently. Once you've stopped, letting go of the trigger lets the pawl engage on the ratchet so as to keep the brake applied, preventing further movement. To release the brake, squeeze the trigger and push the handle away from you." Depending upon the trainee and their level of interest, I'll probably talk a lot more about braking.

Now it's time for the trainee to move the engine so, as well as the functional instruction, we talk a bit about operational requirements to make things safe. "First, decide which way you're going and put the reverser in the proper position. Before you release the brake and think about moving, you need to be sure it's safe to move, so lean out and have a good look round the engine. You can't see the other side of the engine, so the fireman will check that side and let you know it's clear. Finally, we'll give a little whistle to warn anybody who's out there, but we can't yet see, that we're about to move". Having gone through this procedure, the trainee releases the brake and carefully opens the regulator. They're often surprised at just how much effort is required to move the regulator handle but the engine is soon moving and gently accelerates without further adjustment of the regulator. "It's 'Be kind to Firemen Week', so we're going to move the reverser back towards mid-gear a couple of notches to use the steam more efficiently". Once this is achieved, I explain how the 'Linking-Up' they've just accomplished will use less steam, because the cut-off of Live Steam now occurs earlier in the piston's travel, allowing the steam to be 'expanded' (extracting more useful work) before being exhausted through the chimney. This will use less water, less coal and consequently make the fireman's job a little easier. Then, I briefly explain the role of the Cylinder Drain Cocks, in making sure that condensate is purged from the cylinders on starting away and the trainee closes the cocks and concentrates on keeping a good lookout. We comply with the various 'Whistle' boards on the way to Matlock, and carefully observe the associated crossings.

After a few minutes, we're making our approach to Matlock Riverside and the trainee has an opportunity to practice the use of the steam brake to make a gentle, controlled stop in the platform.

The rest of the time proceeds in a similar way, trundling between Matlock and Darley Dale. Sometimes we take the run-round loop at Matlock to give extra practice stopping, with an opportunity to examine (and operate) the Ground Frame. Sometimes we discuss the design of the locomotive. As I explained at the beginning, we try to give each trainee the best possible experience. Sadly, what we can't do is overrun on time. Either there's another driving trainee waiting to get on the footplate, or we've to make sure there's sufficient coal in the bunker for the rest of the day, enough water for the time being and it's time to get onto the coaching stock for the first scheduled train. In the steam heating season, we need to be coupled-up well ahead of departure time to get the carriage warming started.

Where possible, we offer the trainee a footplate ride on a passenger train. They're often surprised at just how busy both driver and fireman are once we're in traffic, rather than pottering about light engine!

MIC - Lamps

The Mutual Improvement Classes of the old steam railways continue for today's preservation volunteers. This is one of a series of posts from notes of talks given by Jan. To find them all, select label 'MIC'.

When is a train not a train?
When it hasn't got a tail lamp.

On the running line, the red tail lamp is important to signify that a train is complete. Even in day time, it indicates clearly the last vehicle.

Some overseas railways hang a distinctive marker board on the last vehicle - often red marked 'LV'. In India I've seen red flags pressed into use but the nicest Last Vehicle marker I spotted was a spray of purple/red flowers! In Myanmar, they paint the 'LV' marker on the guard's van, making it important that the train is correctly marshalled!

At night or in conditions of poor visibility, the tail lamp must be lit. The traditional tail lamp uses a burner comprising a woven wick fed with paraffin from a vessel. The burner and vessel can be removed from the lamp housing for filling and maintenance. The complete lamp is designed to stay alight even in severe, windy conditions, provided it's correctly cleaned and 'trimmed'. Although the burner produces only a small, yellow flame, the red 'bulls-eye' lens produces a remarkably visible indication when viewed from the rear. At night, when the train itself cannot be seen, the tail lamp is the last line of defence against being run into from the rear. Loose-coupled, slow-moving freights improved their chances of being seen by carrying two additional red lights - one on each side the brake van - as well. When turned into a loop or additional running line, the side light nearest the main line was changed to white, so that a following train on the main line would not be panicked into thinking an accident was imminent. Side lights always project a white light forwards, so that the footplate crew could confirm that the whole train was following.

The person most interested in observing the tail lamp was the signalman, who had to satisfy himself that the whole train had passed clear of his section before allowing a second train to approach. Special bell signals were provided for 'train passed without tail lamp' and 'tail lamp out when should be lit'. As important as making sure that a train has a tail lamp is making sure that it has only one. If vehicles are attached at the rear, the original tail lamp must be removed and moved to its new position. If the locomotive was carrying a tail lamp when on its way to work the train, then this must be removed when the loco is attached to the train.

Loco lamps are a slightly different pattern from tail lamps. They normally have a clear 'bulls-eye' lens and a removeable red shade so that one lamp can do duty as a head lamp (white) or tail lamp (red). Engines normally have 4 lamp irons at each end, one near the chimney, one over each buffer and one in the centre of the buffer beam. Different combinations of lamps are used to indicate the class of the train. Remember that headcodes like 'top and left' are described looking from the footplate - from in front of the engine it looks like 'top and right'. The Great Western used a different pattern of lamp iron, so only GW-pattern lamps can be used on GW engines. When lamps are not in use, they must be carefully stowed to prevent damage. Ex-GW engines have special lamp irons on the left running plate near the smokebox for this purpose.

When a train is double-headed, the train engine should not display headlamps but the pilot engine should carry the correct headcode for the class of train being assisted.

Work in progress

I think everything I tackle should come with the rider 'Work in Progress', for nothing ever seems to be 'finished-finished'. 'Work in Progess' sounds less accusative than 'Believed to be correct but probably flawed and incomplete'. As people who write software quickly discover, it's almost impossible to get things exactly as you intend (despite the plethora of structured approaches intended to avoid error). However thoroughly text is proof-read, it's amazing how, much later, glaring errors can be spotted. So, everything has an implied caveat.

I'm critical of other people's spelling and grammatical errors, so you may think it rich that I crave the reader's indulgence when my standards slip below the desirable. My only excuse is that these posts are often prepared under less than ideal conditions.

When I'm at home, the writing is often done in the "wee small hours" when my eyes have trouble focussing and my fingers refuse to descend upon the intended key, but rather sprawl across a number of keys which each seem intent on adding their burden to the typed word. Sometimes, the intended letter appears together with one or two others which were not required; on other occasions, none of the letters which appear are actually part of the word I was seeking to type.

When I'm travelling, the problems may be compounded by unfamiliar computers, indifferent connections and uncertain power. The image I'm trying to suggest of the intrepid reporter struggling against the odds to get the news back to a waiting public may be slightly undermined by the heading photograph, taken in Yangon by my friend Doctor Hla Tun, which shows 'blogging' in the agreeable surroundings of the Strand Hotel.

But, as you get older, you realise that the remaining time to actually get this stuff down is not unlimited and a certain sense of desperation sets in. I've just reviewed how many posts are still in draft awaiting completion and correction and my New Year Resolution is to "Get 'em published, ready or not". Only you, gentle reader, can decide on the wisdom of this resolution.

'Peckett' locomotives

Peckett & Sons Limited were a well-known manufacturer of steam locomotives, mainly industrial types, based in Bristol. Martyn Bane has produced an excellent Peckett site which gives an excellent range of information on the company and its products. There are some fascinating copies of original drawings, the Peckett catalogue and photographs of a number of locomotives.

My own introduction to industrial locomotives involved products from Robert Stephenson and other builders in the North East. They all seemed massively built and somehow I associated this belief in ruggedness with George Stephenson himself, who is supposed to have dismissed competitors like 'Novelty' at the Rainhill Trials with the pronouncement "They've got no goots!". When I started looking at Peckett products, they struck me as somehow more delicate in design than their competitors from the North East. That's not meant as a criticism, for I've always found Pecketts master of their intended work. Below I've listed a few Pecketts I've come across.

Works Number 2004

I suppose the first Peckett I studied was 2004, built 1941. This was a type W7 four-coupled saddletank at Birmingham Railway Museum but it was (and remains) in non-steamable condition. It was called 'Rocket' at the time but, painted green and numbered '6', it served as 'Percy' on 'Thomas the Tank' days.

Works Number 1163 'Whitehead'

I think the first Peckett I drove was 'Whitehead', built 1908. It spent some time at what's now called the Museum of Science and Industry in Manchester, working the weekend passenger shuttles. It was kept in good condition with an attractive green livery and was a reliable performer. It had spent its life at the Whitehead Wire Works. During restoration, a vacuum ejector had been added so that it could operate passenger trains in preservation.

Works Number 1788 'Kilmersdon'

For a time, I helped out on driving experience courses at the West Somerset Railway. Although I had some trips along the whole length of the line, my normal role was to introduce the trainees to driving along the length of the run-round loop at Minehead, which is over 1/4 mile long. 'Kilmersdon' was ideal for this role and I would 'single-man', acting as fireman as well as supervising the driving trainees. The locomotive was built in 1929 for use at Kilmersdon Colliery.

Works Number 1859 'Sir Gomer'

For a number of years, 'Lamport No. 3' was the mainstay of passenger operations at Shackerstone. When she was withdrawn from service, the railway looked around for a replacement and six-coupled Peckett 'Sir Gomer' arrived. Unfortunately, the engine has had a chequered history at the Battlefield Line. The engine steams well and is very strong but has had recurrent lubrication problems, despite providing mechanical lubrication to all major points. The locomotive is a Peckett type OX1 built in 1932 for use at Mountain Ash Colliery.

Works Number 1555 'Ivor'

'Ivor' made the first visit to Shackerstone in 2007 and doesn't look much like a Peckett any more. Originally a type M5 built in 1920, I believe it worked at Cawdor Quarry, Matlock. Martyn Baynes' site has Peckett drawing 5690 showing the boiler for the class M5. The drawing is for locomotives from works number 1822, so it may show some deviations from Ivor's boiler (if, indeed, it's still the original boiler).

The one that (nearly) got away

My friend Keith enquired about an interesting Peckett that he believed had been at Shackerstone and Roy, the Fount of Wisdom on industrial locomotives, was able to give me some pointers.

In 1910, Peckett built a diminuitive standard gauge shunter for Yorktown, Camberley and Blackwater Gas. It was basically a narrow-gauge locomotive 'over-gauged' to run on four foot eight and a half inch track. During the Second World War, a further eight were built for use in Ordnance Factories, informally called the 'Yorktown' class. Works Number 2012 built in 1941 is the sole survivor of the class and ended its industrial life at Cadbury's Blackpole Works, in Worcestershire. It was acquired by Teddy Boston and was stored for some years at Shackerstone before moving to Cadeby.

When the Cadeby Collection was disposed of, the locomotive was brought back to life by Robert Gambrill and is now based on the Lavender Line in Sussex. An official naming ceremony is planned for later in 2009. The picture above (by courtesy of Robert Gambrill) shows 2012 performing as 'Percy' on the Mid Hants Railway.

[Revised 19-May-2009]

The Trent Valley Line

Milford and Brocton Station around 1900, looking south, from a postcard.

In the early 1950s, I had to stay for a few weeks in Milford, near Stafford. The sound of trains indicated that the railway was fairly close, so it was not long before my explorations led me to the nearest bridge over the railway to watch the procession of trains. Milford was situated on the Trent Valley Line, which took all the major expresses and freight from Rugby to Stafford, avoiding Coventry, Birmingham and Wolverhampton.

At that time, the largest passenger locomotives to be seen in the West Midlands were 'Scots', 'Patriots' and 'Jubilees'. It was rumoured that 'Pacifics' were banned but, towards the end of steam, they started to appear around Birmingham and along the Stour Valley Line.

Back in the early '50s, I'd seen very few of Stanier's Pacifics, so I was amazed to see named trains, like the 'Merseyside Express' and 'Royal Scot', hauled by 'Princess' or 'Princess Coronation' locomotives, speeding through Milford. I think I saw just one streamlined 'Princess Coronation'. There was plenty of freight traffic, too, hauled by 'Crabs', 'Eight Freights' and 'Black Fives'. I never collected engine numbers so I've no idea exactly what I saw, but I was very impressed.

The L&NWR pattern signal box was close to the bridge and, with the windows open, the tinkling of the block bells and the crash of the levers was clearly audible. I was fascinated trying to understand how it all worked just by watching from afar. A few years later, I studied railway signalling more seriously and had the opportunity of working boxes, unofficially, myself (see 'Visiting Signalboxes').

The line to the south, towards Colwich, was, and remains today, double track because of the bottleneck of Shugborough Tunnel, driven under the landscaped grounds of Shugborough Hall. The box at Milford controlled the points which provided four roads (paired by direction) towards Stafford. Up freights would sometimes have to wait at Milford for a suitable 'margin' before continuing south to Colwich, where they could be 'recessed'. Lengthy northbound freights could take a while to drag themselves onto the Down Slow so that they could be overtaken by following passenger trains routed onto the down fast. A passenger train which had been 'baulked' in this way could be expected to be working hard passing Milford, trying to regain lost time.

The passenger station shown in the photograph above opened in 1877 and was officially termed 'Milford and Brocton'. It closed in 1950 and no sign of the passenger station remained at the time of my visits described above, but the overbridge in the photograph remains.

The signal box was swept away during electrification in the 1960s and was replaced by a satellite interlocking. All the lines were re-aligned with a staggered set of junctions giving access to the slow lines which are now paired by use on the down side. This was presumably to avoid conflicting moves as the slow lines now remain on the down side through Stafford and all the way to Crewe.

References:
For track layouts in the 1950s, refer to the excellent series of publications from the Signalling Record Society 'British Railways Layout Plans of the 1950's'. Milford is included in 'Volume 1: ex-LNWR main line, Euston to Crewe' (ISBN: 1 873228 00 7).

For details of the revised layout at Milford in 2005, refer to 'Railway Track Diagrams Book 4: Midlands & North West', Second Edition, published by Trackmaps (ISBN: 0-9549866-0-1). The First Edition of this book was published by Quail in 1988.

More information is given in 'Steam around Stafford' by Mike Hitches, published by Sutton Publishing (ISBN: 0-7509-2368-7).

Baroque at Brewood Hall

When I discovered that my friend Eddie Jones is Director of 'Warwickshire Baroque', we decided that Brewood Hall would be an suitable venue for a concert. The idea of a charity concert emerged, to support relief work in Myanmar following Cyclone Nargis.

Following a fair amount of preparation, the concert was held on 23rd December 2008. The impressive line-up featured a spinet, cello, viola and four violins.

Old lady, seeking directions from a New Yorker: "Young man, how do I get to Carnegie Hall?"
"Ya gotta practice, ma'am, ya gotta practice".

I was reminded of this old joke mid-afternoon when the musicians arrived and immediately set up to practice the pieces to be performed, only leaving time for a rather hurried meal at the 'Admiral Rodney' before the concert. The published programme is shown below:-

Warwickshire Baroque (Director: E. Jones) present a Concert of Baroque Pieces in the Historic Surroundings of Brewood Hall on Tuesday, 23rd December 2008. Guests are welcome to take their seats from 7.00 p.m. The Concert will start at 7.30 p.m.

Programme

1. Symphonia in G by J.F. Fasch (1688-1758).
2. Concerto In E minor by A. Vivaldi (1678-1741).
3. Arrival of Queen of Sheba by G. F. Handel (1685-1759).

During the Interval of around 30 minutes, Guests will be offered a Glass of Wine and a seasonal Mince Pie.

4. Canon in D major by J. Pachelbel (1653-1706).
5. La Putain (Die Dirne) by G. P. Telemann (1681-1767).
6. Christmas Concerto by A. Corelli (1653-1713).

The Performers

Eddie Jones - 1st violins
John Walton - 1st violins
Tim Bugg - 2nd violins
Monika Walton - 2nd violins
Trevor Maunder - viola
Luke Fowler - cello
Sheila Koch - spinet

About Warwickshire Baroque

Warwickshire Baroque aim to play music of the Baroque time in a sensitive and authentic style. Many of the band play with authentic instruments, and/or with baroque bows. Most of the players perform regularly in other Warwickshire orchestras. Members come from all walks of life, with a sprinkling of teachers, university professors, retired folk and a variety of others all united in a love of music. Concerts are given several times a year, regularly at St. Leonard’s Church in Ryton on Dunsmore, and also at St. Peter ad Vincula in Hampton Lucy and Nuneaton.

Eddie Jones is Deputy Area Manager for Warwickshire County Music Service based in Rugby. As well as teaching the violin for many years in Warwickshire, he has conducted Coventry Savoy Opera Society, the Bedworth Orchestra, the North Warwickshire Chamber Orchestra, Rugby Rococo Players, and Warwickshire Baroque. As a violinist, Eddie regularly plays chamber music with friends, and has also played electric violin with local folk rock bands!

Eddie introduced each piece with some background information. The running order was slightly changed and other short pieces and carols were inserted. It was a magical evening. I suppose the incredients are the venue, the musicians, the music and the guests. We seemed to achieve just the right mix. Brewood Hall always manages to be a welcoming place, effortlessly adapting itself to whatever is going on. I hadn't met any of the performers before, other than the Director, Eddie Jones. Having known Eddie (who, amongst his other interests, plays folk in Black Parrot Seaside) for some years, I had no doubts that the performance would be excellent. Baroque music has always appealed to me but a number of the guests were not familiar with the style so I wasn't quite sure how the programme would be received. I needn't have worried - the most common remark from guests afterwards was "When are you doing it again?"

Video appears by permission of Warwickshire Baroque.

Pictures of the Practice and the Concert itself.

Peak Rail Santa Specials, 2008

Fireman Dave Ives on 'Royal Pioneer' waiting for departure from Rowsley.

Christmas is a busy time on most preserved railways. A substantial proportion of the annual income is often generated during December by the 'Santa' trains.

I had a couple of turns at Peak Rail in December 2008. The 'Santa Specials' at Peak Rail followed the established practice of a 7-coach train 'top-and-tailed' by 'Royal Pioneer' at the south end and a diesel at the north end. Passenger numbers were good but the weather was generally overcast and damp. There's a small collection of pictures.

"Love Letters and Live Wires"

"Love Letters and Live Wires" is the rather corny title of a documentary film by the British Film Institute featuring highlights from the GPO Film Unit output in the period 1936 to 1939.

My friends Marion and Jim took me to a showing at the 'Lighthouse' cinema in Wolverhampton. Although some of the features are rather dated now, the variety of the output is impressive and the insight into the development of documentary film technique is interesting. Perhaps the best-known film shown was the 1936 'Night Mail', famous for the poem by W. H. Auden. There's a clip on 'You Tube' which is linked below.

The excellent technical quality of these black and white films is apparent when they're projected onto a cinema screen - the effect is diminished on the small screen.

For more information, see the BFI site.

Brewood Civic Society visit to Brewood Hall

When I was reminded that the last visit to Brewood Hall by the Brewood Civic Society was in 2004, we agreed to arrange a 'Brewood Hall Revisited' event in December 2008. The Society handled bookings and provided wine and refreshments whilst the informal band of 'Friends of Brewood Hall' helped to make the Hall ready.

With a total of 82 bookings, half of the visitors were asked to arrive at 7.00 p.m. and the remainder at 8.00 p.m. On arrival, the visitors were further divided into two groups of about 20. One group was taken on a conducted tour of part of the house whilst the other group enjoyed wine and mince pies in the dining room. The two groups then exchanged places so that everybody had refreshments and the tour.

Some delay in the arrival of the wine led to a little late running and there was a good-natured crush as the 8.00 p.m. party arrived before the 7.00 p.m. party had completed their visit.

Jan Ford conducted the four tours which visited the principal rooms on the ground floor and first floor with a brief foray to the second floor. The weather was mild enough to allow a short inspection of the conservation work on the garden retaining walls and access steps and a visit to the renovated small barn.

Civic Society members appreciated the opportunity to look around the Hall and were complimentary about the conservation work carried out. Following the visit, the Society made a donation which will support relief work in Myanmar following Cyclone Nargis.