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There are separate chapters on the original regi- ments’ bands, so we learn of The 3rd Dragoon Guards (Prince of Wales’s) and the Carabiniers (6th Dragoon Guards) before their amalgamation to become The 3rd Carabiniers (Prince of Wales’s Dragoon Guards); the Royal Scots Greys then their amalgamation with The 3rd Carabiniers to become The Royal Scots Dragoon Guards.
Among the busy itineraries recalled are the tattoos of old like Tidworth, Berlin, White City and Aldershot, foreign tours including visits to The Vatican and The White House and recurring UK based events such as York Military Sunday and the Installation of the Governor of Edinburgh Castle. Anecdotally, we have the previously mentioned George Evans playing solo cornet in his spare time for the Morris Motors Band, the practice of cavalry bands fronted by a rank of drummers at one time and Winston Churchill in 1919, as Secretary of State for War, opposing the Royal Scots Greys sug- gested disbandment if it remained at home following a cancelled posting to India. Thank goodness that he did for all manner of reasons but essentially form a purely selfish view, otherwise we may not have had the enrich- ment of military music we’ve since enjoyed.
The book’s layout makes it attractive. Historical fact in order is a necessary bedrock that here combines interesting background to musical performances of all the sorts we have come to expect and more besides. All facets of the regiments’ musical components are cov- ered. Military bands, drum horses and cavalry trum- pets dominate the earlier years before the emergence of pipes and drums and the build up to their key role is a particular feature addressing the issues in mixing
the two genres then links in with 1971 amalgamation of the 3rd Carabiniers and the Scots DGs.
Similarly, the subsequent demise of the military band forms part of the coverage given to regimental amalga- mations within army restructuring throughout history. The then developing relationship of the regiments’ pipes and drums with the new bands of the Royal Armoured Corps and their successors merits its inclusion.
Blue shaded boxes highlight bandmasters’ and others’ profiles, programmes of music and other items of spe- cific interest. Photographs and drawings abound from earlier black and white pictures and sketches to the colour of full dress and make this a treasure of a variety of uniforms for reference or simply, pure enjoyment in the heritage portrayed. Altogether this book comes in easy to read and view form whether you choose to consume a particular period or flit from one bite-sized chunk to another.
Appendices include a discography (in itself an impres- sive history), pictures of Pipe and Drum Majors since 1946 and Pipe Banners that are works of art in their own right.
The book’s dedication is fittingly to the late Major Tony Crease MBE, BEM, the legendary solo piper of Amazing Grace, who went on to achieve much in other fields. It is a worthy tribute to him, as is the book to his colleagues over the centuries. It reminds us, par- ticularly in these days of narrowing global military musical provision, to celebrate what is here recorded magnificently in work and picture.
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