Sally Beamish has matured into one of our most talented and original composers within a remarkably short period of time. It is amazing to think that until around 1990 she devoted most of her time to a career as a freelance violist, although she had in fact been composing since the age of four. The turning point was the birth of her first child, the theft of her viola and her husband, the cellist Robert Irvine, returning from a spell of work in Scotland with the news that there were opportunities north of the border and that they should consider making a move. The move was subsequently made and it turned out ………Christopher Thomas @ musicweb-international.com
2016 three CD collection. As that noted hipster Plato once observed, when the mode of the music changes, the walls of the city shake. And there was certainly a whole lotta shakin' goin' on in 1967. A distended Summer of Love saw psychedelic pop emerging from the underground clubs to infiltrate the home-grown music scene mainstream, with the vast majority following in the footsteps of perennial market leaders The Beatles in surrendering to the new genre. As the year progressed, it seemed that more or less every element of the British pop world had been swept up in the blissed-out UFOria. Beat boom survivors, R&B stalwarts, sharp-suited mods, Swinging London soul revues, earnest acoustic folkies, Denmark Street hustlers, traditional pop acts… all abandoned or refined their previous identities to make music that reflected the ubiquitous influence of psychedelia in it's myriad paisley-patterned guises. Across four hours and eighty tracks, the all-singing, not-much-dancing Let's Go Down And Blow Our Minds anticipates the 50th anniversary of the Summer of Love to chronicle a tumultuous twelve-month period of music-making within the British Isles.