The Original Colonel Bogey

Alford conducts Alford in 1939.

This is the ultimate collector’s piece. 32 tracks of original Ricketts’ recordings.

TRACK LISTING

CD ONE

1. March: Colonel Bogey - Alford

2. March: The Thin Red Line - Alford

3. March: Dunedin - Alford

4. March: On The Quarter Deck - Alford

5. March: By Land And Sea - Alford

6. March: The Great Little Army - Alford first recording April 1939)

7. March: The Standard Of St George - Alford

8. March: The Middy - Alford

9. March: HM Jollies - Alford

10. March: The Voice Of The Guns - Alford (first recording April 1939)

11. March: The Vanished Army - Alford

12. Xylophone Duet: The Two Dons - Alford (Soloists: Musns B Wright and T W Weigus)

13. Pastoral Fantasy: The Smithy - Alford

14. Suite: Country Life, ‘The Hunt’ - Alford (Soloist: Bd Cpl W G Banning)

15. Suite: Country Life, ‘Part Two’ - Alford

16. March Selection: Colonel Bogey On Parade - Alford

THE ORIGINAL COLONEL BOGEY

Royal Marines Plymouth Division

Conductor: Major F J Ricketts

Double Compact Disc only £15.00

These recordings, undertaken in England between April and December 1939 by the Gramophone Company ‘His Master’s Voice’ (later EMI), by Major F J Ricketts directing the Band of HM Royal Marines, Plymouth Division in a programme primarily of his own compositions, are virtually unique in the history of international military music, the only other example being those of John Philip Sousa, the American March King.

Recording took place in the famous EMI Abbey Road Studios, London, and also in Plymouth, for which the HMV mobile recording vehicle was used. All recordings at this time were cut onto large wax discs to be processed later, as tape did not exist in those days; each ‘take’ had therefore to be complete, no subsequent editing being possible!

Thirty titles in all were recorded and released on the HMV label; a further two were never published, Old Panama and Wedded Whimpsies, and there is no information as to why this was the case. The masters of all these recordings do not now exist but fortunately copies of the commercial 78 rpm records remain in the EMI archive at Hayes, Middlesex, and from these the compact disc master has been

produced and improved sonically. These recorded performances, with their remarkable attention to detail, tempi, phrasing, dynamics and precision, will come as a revelation to many.

There is an interesting link between the above recordings and those featured on the CD ‘Kings of the March’, military music by John Philip Sousa and Kenneth J Alford, conducted by Lt Col F Vivian Dunn who was a Royal Marines Director of Music at the same time as Major Ricketts: when producing the ‘Kings of the March’ recordings Vivian told me of the numerous conversations he had with Ricketts and, in particular, regarding the Alford compositions; and this is reflected in the performances by Vivian and the Royal Marines School of Music Band which comprise that CD, and which were recorded some fifteen years after Alford’s death.

Brian B Culverhouse – EMI Recording Producer, 1952 — 1972

A Perspective by the Director of Music, Central Band of the Royal British Legion

My first thoughts on receiving these recordings were how important it is to have this historical record of pieces played by a band of the period conducted by the composer. They give a fascinating insight into the techniques and programmes of the time. At first hearing I was struck by the difference in playing techniques, particularly in the brass. The vibrato and attack is very much of the period. Generally, accents and staccato are much more pronounced than would be the case with modern bands. The overall standard of playing is excellent — which is what one would expect from one of the foremost bands of the time. It is good to hear the bass drum and military side drum used for the marches, which adds to the authenticity of sound. There is a very rich, resonant ambience to the recordings generally, which gives added depth to the overall sound. There have been some problems with balance between the upper woodwind and some percussion, but this is part of the charm of this period piece.

With regard to the programming, it is very interesting to have pieces such as The Smithy (but one wonders who that singer is), Bill the Bosun and August Bank Holiday, the last of which displays FJR’s brilliant sense of humour and skill in compiling marches and other pieces into a patchwork of band sounds which must reflect an Edwardian summer weekend. These pieces alone make the collection well worthwhile!

The solo items seem to rely heavily on the post horn of Cpl W G Banning, and on the xylophone. This is understandable as these pieces are always popular — even today. The tempi used in the Carmen selections are also interesting — are they quicker in order to fit on one side of a 78rpm record? If so, how was Colonel Bogey On Parade put together? From my personal point of view these CDs will provide a valuable work of reference and, more widely, will be essential for students of military wind band music.

The Colonel in his Nineties

It is 60 years since Major F J Ricketts’ death in May 1945. Colonel Bogey (born 1913) would now be well into his nineties. The purpose of this CD is to provide an enduring tribute to the British March King via the recordings he made in the twilight of his career as Director of Music of the Band of HM Royal Marines, Plymouth Division, 1930-44. Since most of these are of his own compositions and arrangements they also provide an interesting insight into the development of his career throughout the first half of the 20th century and an equally compelling demonstration of his considerable talent both as a composer and a conductor.

But first, a few words about Ricketts’ career. In a tribute article for the Argyll and Sutherland Highlanders’ regimental magazine The Thin Red Line Major Hamish Clark wrote in 2003:

‘Frederick Joseph Ricketts was a Londoner born 21st February 1881. The minimum age for enlistment was 15 but young Ricketts managed to enlist under age by stating his date of birth as 5 March 1880, which remained on his record throughout his service. He enlisted as a band boy in the Royal Irish Regiment (the 18th) and served in the 2nd Battalion in India, an early taste of active service. Ricketts had a good grounding in music: piano, the organ, and singing in the choir. His band instrument was the cornet. In 1904 at the early age of 23 his musical ability, and his potential, were recognised by his selection for the Royal Military School of Music at Kneller Hall as a student bandmaster, a two year course. In the competition for march composition, his own entry came last, which caused him amusement in later life, but it has been speculated that Ricketts did much to help a fellow student to win, If so, such

was Ricketts’ unselfish character, and the authorities recognised his ability by retaining him at Kneller Hall as Assistant to the Director of Music for a further two years. In 1908 aged 27 he was appointed Bandmaster to the 2nd Battalion Argyll and Sutherland Highlanders, the 93rd.

The 93rd were in South Africa at Tempe Kop, a garrison station a few miles from Bloemfontein with three cavalry regiments and three infantry battalions. Some years later Ricketts was to publish The Vedette, a march recalling the outlying mounted sentry from the days of India and Africa service.

Ricketts’ first march after leaving Kneller Hall was The Thin Red Line which he composed at the request of the Commanding Officer, Lt Col A E J Cavendish, but it wasn’t published until 1925. It is a superb, dignified march which quickly gained popularity and naturally Ricketts dedicated it to the 93rd. In 1910 the 93rd moved to Maryhill Barracks in Glasgow, where he wrote Holyrood for the visit of King George V and Queen Mary to Edinburgh, and from there in 1912 to Fort George, on the Ardersier peninsula on the Moray Firth east of Inverness. The Fort is a Georgian barracks within 18th Century geometrically-angled mutually-supporting military fortifications. It was from here that the 93rd trained for the War to come: lots of marching and shooting. In those days, the boredom of long route marches was alleviated by the marching music of the bands. After all, military bands were originally established to provide music to keep the step, or cadence, at measured pace, and to lift the spirits. In contact with the enemy, the bandsmen’s role became that of medical orderlies and stretcher bearers. So, the 93rd marched, and the Pipes and Drums and the Band often led the way.’

CD TWO

1. March: The Voice Of The Guns - Alford (second recording 18 Dec 39)

2. Tone Picture: August Bank Holiday - Alford

3. March: Royal Review - Bassett-Silver

4. Posthorn Solo: The Chase - Alford (Soloist: Bd Cpl W G Banning)

5. Posthorn Solo: The Posthorn Galop - Koening (Soloist: Bd Cpl W G Banning)

6. Tone Picture: The Phantom Brigade - Myddleton

7. Suite: The Drowsy Dustman, Hornpipe ‘Bill The Bosun’ - Alford

8. March Fantasy: Nautical Moments - arr Alford

9. Selection: Carmen Part 1 - Bizet arr Alford

10. Selection: Carmen Part 2 - Bizet arr Alford

11. March: The Great Little Army - Alford (second recording 19 Dec 39)

12. The Contemptibles - Stanley

13. Regimental March : A Life On The Ocean Wave - Russell arr Alford

14. March: The Stars And Stripes Forever - Sousa

15. March: Semper Fidelis - Sousa

16. The National Anthem - Trad arr Winter

The Royal Marines Band Plymouth Division in 1936