The closing decades of the twentieth century witnessed a period of action based upon laissez-faire economic theory which resulted in the of a wide range of publicly owned organisations and services. Implementation of doctrinaire policies whilst providing a source of lucrative theoretically available to all, was in fact confined to an opportunistic element and proved to be divisive as a section of the population without the means or ability to capitalise on the speculative trend was marginalised in a society increasingly divided on socio-economic grounds characterised by 'Haves' and 'Have Nots’.

As an intensive industrial area surrounded and largely supplied by the Yorkshire coalfield Knottingley and neighbouring settlements felt the adverse effects of government policies, particularly toward the close of the decade in the aftermath of the dispute in the coal industry which resulted in pit closures, high unemployment and impoverished and demoralised communities.

The adversity suffered by local society naturally affected Knottingley Band so that the decade which had been launched with the hope of future stability and success proved to be one of seemingly interminable crisis, resulting in the nadir of the Band's fortunes.

The prevailing economic trends were an exacerbation rather than the root cause of the Band's problems, however, the origin of which lay in the previous decade. Throughout the vicissitudes experienced by the Band in former decades continuity of membership with a strong familial connection and minimal administrative disruption had combined to produce a significant degree of stability within the ranks which had sustained the Band in times of crisis.

By the late 1970s, however, the stability was being undermined as the vagaries of time began to erode the participation of the older element of the membership, their withdrawal outpacing the number of new members and thus diminishing the size of the membership.

The failure to gain a sufficiently adequate number of replacements for the time-expired members was due less to unawareness of the need for active recruitment than the effect of societal change in post war decades. Whereas former generations, constrained by circumstance to find social intercourse within the sphere of local institutions and organisations, had subscribed to participation in community based activity, socio-economic and technical advances from the mid-1950s had widened the range of leisure pursuits available to a younger generation with time and money to avail themselves of opportunities and experiences denied to previous generations.

Consequently the 1980s were years of unparalleled crisis as the Band dwindled to about a dozen members and lack of numbers precluded participation in the status defining Yorkshire Area contests. Faced with the prospect of decline to the point of disbandment the rump of the membership decided to devise and launch a survival plan.

A key element in the plan for survival was the appointment of a bandmaster and the replacement of the ageing administrative personnel.

The renamed ensemble as 'The Knottingley Band', the reorganisation of the Band library, membership auditions, the proposed production of a commercial recording and a Band history were all designed to launch a new revitalised era giving the Band a high status profile. It was a great surprise, therefore, when in September 1982 Raymond Hodgson announced his resignation as Bandmaster, leaving the Committee to find an immediate replacement. An approach was made by the Secretary to Mr T. Paulin ascertaining his terms for taking over as the Band's musical director. (1) However, at a Committee Meeting early the month following, Raymond Hodgson declared his willingness to withdraw his resignation and it was agreed by membership vote that he should continue as the regular Bandmaster. Paulin was invited to meet the Committee at an unspecified future date with a view to his becoming guest conductor at contests in which professional musicians were permitted to conduct. (2)

In addition to the unsettlement concerning the leadership of the Band was the corrosive effect of the somewhat parlous financial situation of the Band. In an effort to combat this a Finance & Fund-Raising Sub Committee was formed in October 1982. The idea was the brainchild of Roy Baxter who, as an active supporter of the Band, had been elected as a full member the previous July. (3) The five member sub-committee comprising Baxter, R. Clayton, A. Cooper, T. Lloyd, and D. Miller, compiled a report suggesting ideas and reforms which was ultimately presented to the full membership for consideration and approval. (4)

Quite apart from the suggested ideas emanating from the new sub-committee, the establishment of that body was of long term significance in opening the way for future administrative change, culminating in the 'root and branch' clearance of June 1988.

Given the deepening financial crisis with its effect on the social status and self-esteem of the Band and the implications for continued existence, it might have been expected that in keeping with the moral and financial support given in past eras, support from the incumbent Band President would be forthcoming.

As the figurehead of the Band the tenure of Mr W.U. Gregg had proved to be a disappointment with no direct contact unless initiated by the Band Committee, much less patronage and sponsorship. (5) Conversely, Mr Adino Tunningley, a local builder and businessman, was an enthusiastic supporter who on occasion enjoyed attending rehearsals and being allowed to conduct the Band. Tunningley provided material support and even hired the Band to provide the music at his daughter's wedding reception in Knottingley Town Hall in 1977. (6) It was therefore unsurprising that at the A.G. M. in August 1983 a resolution was passed that the Secretary write to Gregg thanking him for past services and that the honorary title of Band President be conferred on Tunningley, subject to his acceptance. (7) Tunningley's tenure lasted until 1988 when, following his resignation as Band Secretary, and in acknowledgement of his long association with the Band, Mr Tunningley graciously vacated the presidency to enable the unanimous election of G.W.(Bill) Hodgson as President .(8) The death of Bill Hodgson in 1997 resulted in the vacant post being placed on the agenda of the A.G.M. the following September at which the proposal that Brian Pollard be appointed to the office was seconded and passed nem con. (9) The appointment was the culmination of a lifetime's service to the Band, bestowed in recognition of that fact and accepted in appreciation of the signal honour by the recipient who holds the office at the time of writing.

In Autumn 1985, a situation arose in which owing to ongoing commitments a replacement conductor was urgently required. Following an informal approach by Lew Bedford, a delegation was formed to meet Mr Graham Dean, the conductor of the Knottingley Youth Band. In an effort to secure Dean's services it was proposed to coordinate the efforts of both bands at the forthcoming civic service on Remembrance Sunday. Brought to fruition, the proposal might have resulted in a merger of the ensembles thereby providing a much needed infusion of 'young blood' into the ageing, depleted body of the Knottingley Band. However, for unspecified and therefore speculative reasons the approach was abortive and nothing transpired. (10)

In June 1988 an Extraordinary General Meeting was convened in the hope of promoting a concentrated effort to ensure restoration of the Band's status. A wide ranging and protracted discussion of such grave tenor ensued that the election of officers to the Band Committee for the following year was suspended pending the outcome of the discussion. Central to the discussion was the attitude of the bandmaster, Raymond Hodgson, who was requested to outline his views and intentions with regard to the future role of the Band and his involvement therein. It was hoped to formulate a press release which would draw the attention of the public to the "present plight" of the Band. Hodgson was also asked to draw up his own "job description" for vetting by the Committee and the scrutiny of the membership in general.

An aspect arising from the discussion was the immediate need to nurture young talent in order to ensure the future of the Band. To this end it was agreed that beginners' classes would henceforth be co-ordinated by the bandmaster and that an approach would be made to former Band members to assist with tuition of young players.

A major outcome of the meeting was the resignation of G.W. Hodgson as Band Secretary after 36 years of continuous service. A further resignation was that of Terry Clayton as Chairman. Clayton had first joined the Band in 1943 and in February 1983 had been presented with a wristwatch in recognition of his long service. In his time within the ranks Terry Clayton had occupied several desks, being acting conductor, Treasurer and Chairman (first in 1958 and then continuously from 1967-88) Under Clayton's influence a dynastic element had been established with Trevor , Roger, Mick and Stephen Clayton all being involved as players and administrators. (11)

The 'clear the air' discussions and resignations resulted in elections which marked the commencement of the new era previously anticipated. As part of the 'new regime' Michael and Roger Clayton were elected as Chairman and Treasurer respectively but the most significant change was the election of R.H. Baxter as Band Secretary. Baxter was requested to prepare an article for release to the local press and an additional feature for publication in 'The British Bandsman' magazine. Thus, the meeting concluded with an air of general optimism as Bandmaster Hodgson rallied the membership with an assurance of his future commitment and a call for a mutual response, concluding with the words

“We now need to see where we can go." (12)

The renewed air of optimism was clearly evident at the Committee meeting held the following month at which the change of presidency and the draft of the proposed press release were confirmed. The ensuing discussion concerning future course of action was brought to an abrupt end, however, by a sudden announcement from Raymond Hodgson of his desire to cease all involvement with the Band, citing pressure of work and the desire to pursue other interests as the reason for his volt face. Amidst chaos the meeting was adjourned, and future plans suspended. (13)

Once again, the breach was temporarily filled by Brian Pollard who volunteered to conduct all outstanding engagements and band practices while making no commitment regarding additional engagements and contests on account of his state of health. However, as most potential engagements were placed in abeyance, Pollard's conditional offer was most acceptable as a short-term measure. (14)

Immediate steps were taken to engage a permanent bandmaster and by January 1989 Mr Michael Milner had been appointed to the post. Milner's appointment brought an added benefit, his wife, Anita, joining the Band as a tenor horn player. (15)

The low ebb of the Band's membership in the late 1980s which had prompted the decision to launch a junior recruitment and training programme as the basis of an assured future was stimulated when Milner's appointment coincided with the association of Mrs Roberta Beechey with the Band. A Kellington based teacher, Beechey introduced a number of youngsters to the ranks of the Band thereby forming a nucleus of a junior band. Prior to this development Roy Baxter arranged for an article to appear in the local paper in order to raise public awareness and this was accompanied by letters to all headteachers of local schools. Unfortunately, the latter drew a less than hoped for response. Nevertheless, a number of juniors were recruited and in the ensuing months under the guidance of Milner, assisted by Band members, a junior band of considerable proficiency was nurtured, with a number eventually joining the senior ranks. (16)

Michael Milner's tenure as bandmaster was relatively brief, however, for despite setting the Band back on a positive path through participation in several contests and building for the future by active participation in the recruitment and training of junior instrumentalists, an underlying friction was evident between the bandmaster and some of the members. Matters came to a head during a practice session on the evening of Wednesday 13th June 1990, when following a dispute concerning programme content, Milner abruptly left the bandroom, leaving the Committee to make ad hoc arrangements to fulfil imminent engagements. David Miller and Terry Clayton filled in as temporary public conductors with Brian Pollard taking the practice sessions. (17)

If the general feeling was that Milner had let down the Band by the timing of his departure, there was no questioning his energy, enthusiasm and ability in undertaking the duties of the Bandmaster. It was considered, somewhat paradoxically, that while his resignation as conductor would be accepted it would not prevent acceptance of his services and advice in an alternative capacity in the future. In response to a request by Milner to state his case before the full membership, including the junior element, an extraordinary meeting was arranged for the evening of Monday 18th June 1980. (18)

Milner's assertion that during his brief association with the Band progress had made with regard to membership and contest attendance could not be gainsaid. It was clear that the root of Milner's dissatisfaction lay in the age-old problem of indiscipline, with particular reference to the casual attitude of some members concerning attendance. Allied to this was Milner's dislike of the attitude and manner exhibited by an element of senior bandsmen toward the junior members. Milner felt that an underlying psychological attitude was directly attributable to the alleged deterioration he had noted in the overall performance of the Band in recent months, culminating in what he described as the "abysmal" practice session the previous week which he claimed, had occasioned his walkout. Milner also voiced reservations concerning the compilation of the musical programme by the recently formed four-man sub-committee of which he was a member, for a forthcoming contest at Grimsby. (19)

In the ensuing discussion Milner's assertions were refuted. It was claimed that whilst sporadic attendance was a perennial problem it was caused to a large extent by shift working and the demands of night school. It was clear that the rift was too deep for resolution and therefore, by mutual consent and with reciprocal expressions of goodwill, the resignation was effected. (20)

Until a permanent appointment could be made Stephen Clayton was recruited on time basis to alleviate the strain on Brian Pollard by undertaking conducting duties. Meanwhile, an approach was made to Mr John Roberts of Rothwell to direct the Band in forthcoming contests. (21) while at a later date an approach was made to Mr Malcolm Simpson. Simpson, an ex-Grimethorpe Colliery Band member, had been associated with the Knottingley Band at an earlier date, having stood in as temporary conductor following Brian Pollard's heart attack in 1976 and holding the post until the eventual appointment of Raymond Hodgson. (22)

In response to an advertisement, in June 1991, Mr Steve Platten was appointed to the post of bandmaster. Platten had considerable experience having previously played with the Yamaha (formerly Hammonds) Band before taking up the conductorship of the Marsden Band, so expectations were high following his appointment at Knottingley. (23) The following October an increase in rehearsal fees was agreed with the Committee and in March 1993 Platten was given a place on the Committee, ex officio. (24) Once again, however, a note of sourness entered the relationship. In his report to the A.G.M. in 1994, Platten had expressed concern at the fluctuation in the degree of enthusiasm of the bandsmen. Irregular attendance was considered to be an important contributory factor, resulting in variable quality of performance, with a particular need for concentration of energy during performance and a greater degree of what the conductor referred to as "community awareness" throughout. The criticisms, allied to financial considerations, problems of declining membership and tuition of beginners and junior members, highlighted the need for prompt action. (25)

Following discussion with senior players the Committee concluded that the decline in membership was directly attributable to the role of the Bandmaster. Once again recourse was made to the services of Brian Pollard and the decision was taken to part company with Steve Platen. Subsequent discussion between the Band Secretary and the Bandmaster resulted in mutual agreement that the tie between Band and Conductor be dissolved on good terms in March 1994. (26)

Platten's successor was Ian Colley of Castleford. Colley had graduated from the ranks of the Yorkshire Imperial Metals Band to the conductorship of the Asda Band. Upon taking up his post with Knottingley Band Colley requested that he be allowed to Committee meetings as opposed to being a member per se. Initially, attendance perked up, allowing Colley to restructure the Band with an eye to future flexibility by calling upon players to occupy different desks. Colley also emphasised the need for increased concert performances as an aid to enhanced contest performance and was critical of young players for not practising and pushing themselves sufficiently. (27)

An important weakness identified by Colley upon taking up his conductorship was the dearth of cornet players, a common problem amongst other bands. Colley foresaw a struggle to maintain the four front row players which he regarded as necessary for a styled performance. Adjustment to the composition of the Band in order to minimise weakness in performance was naturally dependant upon regular attendance by the players. Unfortunately, by Autumn 1996, lateness for rehearsals and more significantly, absenteeism, had become prevalent once again. While work commitments were acceptable as legitimate reasons for absence from practice by a small number of bandsmen it was far from being the case entirely, particularly concerning some of the junior players. (28) Under such circumstances the performance of the Band deteriorated to the point where patrons, public and even some members of the Band itself, expressed disappointment at the overall standard of musical presentation. (29) The nature of the problem had been highlighted by Ian Colley's production of statistical data at a general meeting held on the 18th September 1996. It was stated that as much as one third of Band members were missing on practice nights and that it was taking an hour or more before sufficient players were assembled to enable a 'balanced' practice to begin. In addition it was becoming increasingly prevalent for 'bizarre' reasons to be given for last minute non-attendance of engagements which had often been confirmed as much as three months in advance.

Deploring the tendency by some members to place Band affairs last in the list of priority, the President, G.W. Hodgson, reiterated the need to halt the downward spiral of apathy in the hope that a fresh appointment would stimulate an injection of energy and enthusiasm, the Band Secretary, Roy Baxter, expressed the desire to resign from the post. It was generally accepted that the attitude of the bandsmen, individually and collectively, lay at the root of the malaise and that a sense of responsibility and commitment was a prerequisite for a renaissance in the Band's affairs. Unsurprisingly given the circumstances, neither proposals or volunteers were forthcoming concerning a replacement secretary and Baxter was prevailed upon to continue in office. (30)

The chasm between stated intent and practical resolution of the problem was too wide to bridge and in his report the month following Colley reiterated the problem concluding that "a little more effort would be very welcome." (31)

With the Band morale at perhaps the lowest ebb in living memory rehearsals lost enjoyment, concert performances their spontaneity and contests were endangered by becoming over focused and formalised. Despite the obvious shortcomings in the general attitude of Band members it was felt that revitalisation of the Band was dependant upon a fresh start under a new musical director and in mutual acknowledgement of this fact Ian Colley and the Band parted company in the Spring of 1997. (32)

Once again a temporary phase under the conductorship of John Roberts, assisted by the ever dependable Brian Pollard, ensued, marked by an upturn in attendance and punctuality. The extent to which improvement was the result of self-realisation amongst the rank and file of the need for greater commitment if the Band was to survive as a meaningful entity or merely as a result of initial support for a new regime is conjectural but it was noted by the Committee who expressed the hope that the trend would continue when a new permanent conductor was appointed. (33)

Meanwhile, despite its low ebb, the historic status of the Band ensured a plethora of applicants in response to the advertisement for a director of music and from twelve applicants a shortlist of three candidates was drawn up. In a novel approach it was decided to allow each candidate to spend one week directing the Band, commencing at the end of May 1997. As a result, on the 14th June 1997, Mr Kevin Belcher was appointed to the post of bandmaster. (34)

Knottingley born Kevin Belcher had started his 'banding' career as a member of the Knottingley Youth Band before progressing to membership of several high status ensembles. A composer and arranger, Belcher's wide experience was to prove an invaluable asset to the Knottingley Silver Band and his dedication to his home town ensemble has ensured his long tenure despite attempts to lure him away to more musically prestigious appointments.

Almost coincidental to Belcher's appointment the death occurred of Bill Hodgson, the former long serving Secretary, President and life time Band member whose passing was marked by the customary funeral 'tribute' recalling the sad occasion in July 1989 when no less than 32 members of the Band had played at the funeral of Ralph Sarvent with the last post and reveille poignantly sounded by Graham Hardy. (35)

Under Belcher's baton signs of the long hoped for revival began to show. Kevin Belcher stressed his regard for enjoyment as a concomitant element of rehearsals whilst never losing sight of the principal objective. Drawing on his numerous contacts throughout the band world the new Bandmaster launched an immediate drive to recruit new players and encourage some members of the recent past to rejoin the Band. (36) A flexible approach to the line-up of players was shrewdly adopted with factors such as attendance and attitude being allied to musical ability to secure inclusion within the ensemble. (37) By judicious consideration of musical selections to promote an extensive presentation for concert performances Belcher was able to secure the enthusiastic participation of players who were excluded from contest performance and thus ensure their continued attendance at rehearsals. (38) Paradoxically, the previous dearth of players in particular sections presented some advantage. Thus, when Andrew Belcher was persuaded to leave the prestigious Black Dyke Band and join the Knottingley Band, occupying the solo comet chair, there was sufficient room for such expansion without incurring problems due to the displacement of existing personnel. (39) Indeed, such was the scarcity that there was still a requirement for three additional cornetists. (40) Expansionism had its limitations, however, and acknowledgement of the fact resulted in consideration being given to the formation of a 'B' line up, the establishment of which would allow more concert engagements to be undertaken without absences arising from work commitments diluting numbers whilst permitting wider player participation.

At the A.G.M. in September 1998 it was agreed that changes in personnel had served to strengthen the Band as revealed by the higher standard of concert performance and better contest results with promotion from the 3rd to the 2nd Section providing tangible proof of the latter point. Satisfaction without complacency was the order of the day with continued improvement generating increased enthusiasm and enjoyment. (41) Yet despite the positive developments arising from active recruitment and extensive participation a shortage of high calibre instrumentalists in specific areas was a constraint throughout the decade and beyond, necessitating the 'borrowing' of players from other bands on occasion and necessitating the careful arrangement of the ensemble at other times to ensure a balanced tone. (42)

Despite the new sprung enthusiasm, by March 1999 the perennial problem of lateness for rehearsals had reappeared. The convening of an assembly at 7.30 to allow for 'drifting in' and to enable a start by 8.00 p.m. was proving to be counterproductive and it was calculated that an hour per week of valuable practice time was being lost. It was therefore agreed to set a prompt starting time of 7.45 with a target of two hours rehearsal but with a degree of informality in order to cater for individual requirements. Needless to say the in-built qualification exacerbated rather than solved the problem so that within a few months the prevailing situation was described as "sloppy" with start times and attendance waning. Kevin Belcher responded by producing musical exercises as a preliminary measure in order to utilise the 'waiting time' in a positive way and insisted on a prompt start to rehearsals at 8.00 p.m. irrespective of latecomers. While the indiscipline of the few was generally deplored for the derogatory effect on the Band's standard of performance it was reluctantly conceded that it was difficult to impose effective sanctions without producing an adverse effect on morale. Nobody desired a return to the demoralising and despondent chaos which had characterised the previous decade and so a degree of tolerance of the human foible was exercised perforce and human nature being what it is the seemingly intractable problem continues. (43)

There seems little doubt that possession of an independent bandroom would have greatly contributed to a sense of pride and a feeling of belonging, nullifying the degree of casual indiscipline experienced in the closing decades of last century. The desirability of obtaining a new bandroom, ideally owned by the Band, was expressed at the A.G.M. in February 1991. By that date the Band had spent 30 years in sundry locations since its enforced departure from its long held premises off Aire Street. (44) Even though the generosity of the club committee had provided a base at Knottingley Conservative Club for several years the rebuilding of the club had forced the Band to seek temporary refuge in the clubroom of Knottingley Rugby Union Club for a period in the late 1970s. While the decision to look out for suitable premises was taken at the 1991 A.G.M. it was evident that the parlous nature of the Band finances at that time precluded taking out a mortgage or even being committed to paying the sort of rent necessary to secure premises of desired standard. Unexpectedly, in June 1992, an offer was made by the Ladies Committee of the local Conservative Party of a large hut of timber construction situated to the rear of the Conservative Club at Hill Top. (45) With a touch of irony perhaps, the hut had been named as 'Norfolk House', having provided the Conservative ladies with a refuge when their original headquarters at Norfolk House, Chapel Street, had been scheduled for demolition as part of the redevelopment of Aire Street and its environs a couple of decades earlier. While less than ideal, the spacious hut at least afforded a temporary base for the Band but it is doubtful whether the most prescient member of the Band would have predicted that come the new millennium the hut would still be used as a bandroom.

By Spring 1993 a leaky roof necessitated prompt attention. At a cost of E20 a temporary repair was undertaken but by August the following year it was apparent that further renovation was necessary before the onset of the Autumn and Winter seasons. Roger Clayton generously provided the money for the materials and a volunteer force drawn from the ranks of the Band carried out the work to obviate expense. (46) Within the confines of the Band Hut a selection of photographs of the Band in former times was displayed and to instil a sense of pride and engender esprit de corps it was suggested that not only should a group photograph be taken but that events of a social nature should be commenced such as those of the mid 1960s when the Band had entered various sporting and social contests and competitions. Such activity it was hoped would not only be beneficial in terms of bonding but might also assist fund raising. (47) A further innovation was the production of a newsletter through which medium it was hoped to create public awareness but the principal aim of which was to define future intentions to recalcitrant members whose absence in the mid-1990s had so eroded the efficiency of the Band that it was unable to participate in area contests to seek entry into the National Championships. (48)

The state of the bandroom following band practice also required attention for the confined space and the untidy nature in which it was left meant that apart from the lateness of some members the need for rearrangement of chairs and music stands caused valuable rehearsal time to be lost. To eliminate such delay a rota was drawn up with members undertaking tidying up duties.

The close confines also resulted in a proposal by Stephanie Hodgson, supported by Ruth Baxter, to ban smoking within the bandroom. Despite the fact that the proposal was carried by a substantial majority at the A.G.M. of 1992, within a matter of weeks attention was drawn to the degree of laxity concerning the ban which had, of course implications for all concerned.

The obvious prerequisite for future stability and success was a sound financial structure. Success would enhance status and this in turn would engender self-esteem and minimalise (and hopefully, eliminate) petty infractions of discipline. A sound financial base was the panacea which would ensure future existence and wellbeing but to attain this goal it was necessary to raise the public profile of the Band.

The impetus was provided by the newly established Finance & Fund-Raising Committee which had prepared a raft of proposals. Direct sponsorship was sought from local firms and organisations (49) while an approach was made to the District Council seeking permission to use the grounds of The Close as the location of a Spring Fair. (50) Further ventures were a stallholding at the Knottingley Carnival site in July, marking the commencement of an annual project and a social evening held in Knottingley Town Hall which again became an annual event for a number of years. (51) In an attempt to provide a regular source of income an exclusive weekly draw entitled the '100 Club' was mooted in 1985 at which time it was stated that the Finance Sub-Committee had several other (albeit undisclosed) schemes in the pipeline. (52)

One medium by which the Band sought to promote public awareness via a wider audience was broadcasting. Throughout its history the B.B.C. had featured brass band music, either through half hourly programme slots or partial coverage of the National Championships. Such events, however, invariably featured the elite elements of the band world. The establishment of regionally based commercial radio stations from the 'Sixties prompted a response from the B.B.C. which enlarged its own regional broadcasting services, emphasising local organisations and events. Consequently, opportunities were provided for the participation of bands which though publicly less well known than their elite counterparts were no less illustrious in the context of historic development and no less aspirational in terms of future status.

As early as 1981 an elimination contest for regional brass bands had resulted in the Secretary of the Knottingley Band contacting Radio Leeds to seek inclusion in any future knock-out series. (53) The enquiry resulted in participation in a subsequent series which saw the Band eliminated after two appearances. (54) The Band also broadcast in four half hour programmes as the featured 'Band of the Week' and made an appearance on breakfast television in 1990. (55)

Attempted revitalisation also featured an article in the Pontefract & Castleford Express in which the desire to recruit new players was set within the context of past achievements of the Band. To ensure a favourable impression on third parties, particularly those within the media, the letterheads of the Band were restyled in 1988. though still, of course, carrying the erroneous foundation date. (56)

The establishment of the Finance Sub-Committee was also significant for the fact that regular balance sheets began to be produced. The first one in February 1983 showed a balance of £1,417 of which £1,OOO had already being expended on the down payment for new uniforms by the time the accounts were presented. (57) The situation reflected the general trend in the decades which followed with seemingly healthy balances being eroded by high costs, indicating a struggle for survival. The struggle as income fought a declining battle to keep pace with essential expenditure is clearly illustrated by the fluctuating bank balances, ranging from £1,911 in 1985 to the "sadly reduced” amount of £223 by March 1999. The parlous financial situation is clearly revealed by reference to August 1989 when from a balance of £390.86 debts of approximately £200 with unspecified amounts covering registration fees and room rent were offset by an anticipated item of income totalling £120. (58) Even when the sum of £1,362.90 was recorded in 1997 it was noted that income was suffering in comparison to the previous year when the balance stood at £715.29 declining to £494.39 with several debts still outstanding some months later. (59) The importance of 'special efforts' was underlined at the A.G.M. of 1997 in which the comparative decline in income over the previous twelve months was directly ascribed to the lack of 'open days' and similar events. Likewise, the following year fundraising events were deemed to be necessary to redeem the poor state of the finances. (60) To illustrate the inflationary effect of ongoing costs on income, we may note the effect of insurance premiums, an essential item of expenditure given the replacement value of the instruments and accessories in the possession of the Band. In September 1984 the Finance Sub-Committee was asked to seek a reduction of the "spiralling" insurance premiums. Five years later it again became necessary to obtain a reduction of the premium which was reduced from £217 to £167 but only effected by removing the cover on certain items previously included within the schedule. (61) A recurrent problem facing the Band Committee was the necessity to make financial provision for the replacement of instruments and uniforms. One of the early recommendations of the Finance and Fund-Raising Sub-Committee was the opening of a separate deposit account with accumulated interest being set aside for a specific purpose, initially for the purchase of new uniforms. (62) However, the balance sheet presented by the secretary of the Sub-Committee, Roy Baxter, the following month reveals the sum of £1,417 of which £1,000 was to be forwarded to Messrs Brayshaw & Co., as the down payment on 26 uniforms. The Band members themselves were asked to meet the cost of protective covers for the uniforms and also for bow ties. When in addition it was proposed that individuals pay for white shirts the proposal met with opposition and in a repeat of the situation in 1978 an amendment was carried which stipulated that payment be met from Band funds. (63)

The situation with regard to instruments, though less immediate, did, over time, make demands on the Finance Committee. Nor was the money always required for the purchase of new instruments. Awareness of accelerating values prompted a reappraisal in 1983 for insurance purposes which resulted in cover for the sum of £27,000 at a premium of £135.05 per annum. (64)

Where the purchase of new instruments was concerned the Finance Committee naturally, sought the best bargain and it was not unusual to request representatives of rival suppliers to attend the bandroom for interview in order to procure the most favourable terms. (65) On occasion an impromptu meeting would be called in order to take advantage of an unlooked for opportunity such as the 'snap' decision to purchase 25 music stands at the bargain price of £IOO through a third party contact in January 1985. (66) Not all decisions taken by the Finance Committee were clear cut. Thus, the decision to approach Dodds of Doncaster with a view to purchasing a new baritone euphonium, prompted perhaps by the saving effected by the acquisition of the music stands, met with some dissent but was endorsed by the majority vote of the members. (67)

Expenditure on instruments was exacerbated by the adoption of the 'Youth Policy' in response to the membership crisis of 1988. An indication of the incipient crisis had occurred as early as 1984 when shortage of players had resulted in the placement of advertisements in a series of local papers. (68) Recruitment of beginners necessitated the procurement of instruments suitable for learners, such as cornets. To meet the demand the sum of £490 was spent on the purchase of five comets in January 1989 with two further cornets and a horn supplied on approval, being purchased in April, the horn alone costing £200. (69)

In order to minimise such expenditure, the Band Secretary was compelled to undertake the onerous and time-consuming task of 'chasing up' persistent absentees in order to ascertain their future intentions and if necessary secure the return of instruments and uniforms to accommodate the needs of newly recruited members. (70)

By June 1988 the Secretary had organised a series of co-ordinated classes for the tuition of beginners and in an attempt to reinforce commitment and foster long term stability encouraged parental involvement in Band activities. (71) By the following January, however, concern was expressed that some beginners were dropping out, due largely to the variable degree of competence, with less proficient youngsters being discouraged by the progress of more accomplished ones. (72) Junior practices were therefore reorganised into two groups, practising under the supervision of David Miller and Roberta Beechey on Saturday and Sunday mornings with tuition of pairs of leamers graded for proficiency. (73) As a result a settled group of youngsters emerged, forming the nucleus of a junior band, the commitment of which was remarked at the A.G.M. the following July. (74) To sustain interest through active participation a number of engagements were organised. (75) Such events were few, however, and the strain imposed upon the tutors meant that the initial impetus could not be sustained without additional assistance. (76) An appeal for help from senior members of the Band drew only limited response, being made at the time when in addition to low morale within the ranks generally, accompanied by questionable commitment, there appears to have been some indifference, if not hostility, in the attitude of some members toward junior members. (77) Consequently, formal practices for beginners were abandoned by 1994. A small group of learners received tuition at Kellington School while Knottingley High School proved to be a source of recruitment of more proficient players who were taught by Brian Pollard prior to Band rehearsal on Wednesday nights. (78) In an effort to foster a sense of belonging, by the mid-1990s the practice of presenting commemorative shields to players who graduated to the senior ranks was adopted. In addition the tutelage provided by Pollard was supplemented by that undertaken by Ruth Baxter at Knottingley C of E School, reviving hopes of the reformation of the junior band and the possible extension of youth participation. (79) For a number of reasons, however, such hopes were to remain unrealised.

At an economic level the provision of uniforms for junior bandsmen was of dubious value given fluctuations in attendance and adolescent enthusiasm and the rapid physical development of youthful members. While some youngsters had their own instruments the need to supply those without proved a burden upon the financial resources of the Band the instruments of which were constantly in need of repair and replacement. Paradoxically it was the revival of the Band from the mid-1990s, resulting in a continual series of contests successes and the prestige and status success brought which condemned the Youth Policy' to extinction. The recent success of the Band has drawn a number of established and experienced players to its ranks and obviated the necessity to recruit juniors in order to ensure the lifeblood and the continued existence of the Band for the foreseeable future. Throughout the years of its existence the Ladies' Committee had rendered invaluable practical assistance and financial support through fundraising activities and yet notwithstanding its contribution the members had always been confined to a subordinate role, reflecting however unconsciously, the benevolent despotism of a male dominated society in which women were afforded a degree of freedom within unspoken but clearly understood parameters. The ascendancy of 'Womens' Lib' from the 1960s onward was accompanied by the passing of the older element constituting the membership of the Ladies' Committee and the handing of the torch to a younger, less passive group of 'orchestra wives'. Additionally, the inclusion of female members of the Band and their increasing participation in aspects of Band administration pointed the way to a far more active role by the Ladies' Committee. However, with the establishment of the Finance Committee in 1982 the work hitherto undertaken by the ladies was subsumed and the Ladies' Committee became defunct.

By the spring of 1989 the parlous nature of Band finances led to a reappraisal of the former contribution of the Ladies' Committee. A letter sent out to ascertain the degree of interest in the proposed revival of the Committee elicited a positive response, followed by a meeting shortly thereafter which resulted in the reformation of the Ladies' Committee in June 1989. (80) By the following month the Ladies' Committee had resumed its fundraising activities, its existence being formally recorded at the A.G.M. on the 31st July 1989. (81)

Given its new found sense of self awareness it is unsurprising perhaps that when the crisis arose concerning Michael Milner's tenure as bandmaster one of the causes of dissatisfaction cited by Milner was the alleged interference of the Ladies' Committee. (82) By that time, however, the financial value of the Committee rendered it sacrosanct, particularly with regard to the money raised by the introduction of a weekly draw under the aegis of Yvonne Dudley. At the 1991 A.G.M. when a vote of thanks was expressed to the Ladies for their fundraising efforts the Committee was pursuing the purchase of new outfits for the female members of the Band. (83) The extent to which this activity was undertaken following consultation and approval of the Band Committee, or constitutes an example of the 'interference' of which Milner complained, is unclear but the following year when the Band relocated to 'Norfolk House' the Ladies' Committee was at the forefront of the move. (84) Thereafter, however, there are no minuted references to the Ladies' Committee and it appears that the group ceased to function as a separate entity and was incorporated into the Finance Committee. (85)

An essential element of all fundraising activity was a full calendar of concert engagements which, allied to social and charitable events, provided the opportunity for technical experimentation and analysis as necessary adjunct to contest work and simultaneously promoted the public profile of the Band.

The perceived value of the Band as an agent for fundraising on behalf of local organisations may be judged by reference to the number of charitable functions featuring the Band in any given year. Assistance for worthy causes has been and remains a wellspring of Band activity to the extent that demand for its services has at times outpaced its availability. In 1981 alone, for example, the Band played in aid of the Guide Dogs for the Blind, gave a concert on behalf of Pontefract Lions and Knottingley Handicapped Club, attended the opening of Beulah House Residential Home on Easter Saturday afternoon, made its annual appearance at Knottingley Carnival in July and the Remembrance Sunday service in November and sent a donation tin support of the National Youth Band Appeal Fund. (86) A joint fundraising concert with the Wesleyan Church in October the following year presaged the start of the profitable seasonal Christmas Carol concert. An innovative twist that year was the introduction of a sponsored wassail on the 17th and 18th of December that year which replaced the more random traditional Boxing Day tour of the local pubs and clubs. (87) The wassail proved to be highly successful and became a regular feature of subsequent festive seasons although recourse to the traditional Boxing Day event was made in 1998 (88) while in addition, an approach was made to local innkeepers in 1982 regarding a series of unsponsored 'mini' carol concerts to be given within licensed premises supported by random collections. (89) Variation on a theme was a feature in 1989 when a proposal was made to extend the wassail to public houses located between Knottingley and Goole with a set charge per carol being levied. (90)

To supplement the fundraising wassail the Band continued the now highly remunerative practice of playing outside G.T.Smith's Knottingley supermarket for which, in addition to obtaining the permission of the management, it was necessary to secure an annual permit from the police. (91)

A 'spin-off from the Xmas wassail was a proposal for a 'Band Afloat' canal trip in August 1989, the idea being to disembark at selected locations en route to Goole and take collections whilst the Band played a short programme of music. Advanced publicity for the project was to be sought through the medium of the local newspapers, together with an approach to Radio Leeds and Radio Humberside. For logistical reasons such as insurance cover, however, the idea proved impractical and had to be abandoned. It is perhaps an indication of the development of an increasingly litigious society that the project was abandoned perforce when similar excursions by boat had been blithely undertaken by an earlier generation. (92)

One noticeable absence from the calendar of events by 1989 was attendance at Knottingley Carnival; the first non-appearance of the Band for more than 80 years. The withdrawal was precipitated by the physical demand made by the long processional route on a number of ageing bandsmen and the fact that playing and marching skills were no longer regarded as compatible activities and while on a previous occasion an attempt had been made to obviate the problem by assembling the Band on a motor vehicle it was felt that the ruse had resulted in a diminishment of the sense of occasion engendered by a marching corps and the experiment was not subsequently repeated. (93)

End of year activity was invariably hectic, albeit lucrative. In 1989 for example, the pre Christmas engagements commenced with a concert at the Knottingley Conservative Club in late October, followed by one at Hill Top Workingmens' Club a few weeks later with further concerts at Norfolk Gardens and the United Reform Church, Knottingley, also in November. Additional activities included presentations in the pedestrianised shopping precincts in Pontefract and Castleford on separate Saturdays and two nights playing outside G.T. Smith's Knottingley store in December, plus the annual sponsored wassail which raised the sum of £540.40, culminating with the customary tour of the town on Boxing Day. (94) The summer seasons whilst less intensive, were still demanding with seaside concerts at Filey and Cleethorpes in 1990. The remuneration for each of these events was a £200 fee plus £145 travelling expenses. (95) The long distance events were obviously more lucrative than those nearer home where engagements in local authority parks paying £60 plus collections were adjudged uneconomical, prompting a Committee decision not to tender for the same. It is interesting to note, however, that the Band was persuaded to renew its link with Knottingley Carnival despite the fact that the engagement was undertaken for the customary token fee. It is also of passing interest to note that following the Xmas concert at the United Reform Church in 1989 the Band was immediately booked for December the year following. It was at this period that a link was forged between the Church and the Band which endures to the present time, echoing the 'special relationship' which had existed between the Band and St Botolph’s Church at the tum of the twentieth century. (96) The frequency of concert events permitted ensemble adjustments with players being allotted to new desks to facilitate the desired tonal balance for contest appearances. By the start of the 1990s successful recruitment had almost resulted in an embarrassment of riches and in February 1990 it was deemed necessary to drop one of the 29 registered players, leaving 25 instrumentalists and 3 percussionists to perform at the Area Contest. (97)

It is instructive to examine the programme performed at a concert given by the Band in St Botolph's Church, Memorial Garden, Knottingley, in June 1990. viz:

Castle Rock
Rovers Return
Little Liza
Liberty Bell
Hymn: 'Lloyd'
Last of the Summer Wine
Floral Dance
Harbour Lights
All in the April Evening
If
Hey, Look Me Over
Swing Low Sweet Chariot

While an element of traditional band fare was represented by 'Swing Low..', 'All In the April Evening', Floral Dance', the hymn, ' Lloyd' and the march 'Liberty Bell', such items in concert programmes were now leavened by a plethora of popular songs, theme music from television series, films and stage musicals, interspersed with upbeat rhythmic novelty items. It is also worthy of note that the above programme was played less than an hour after the emergency meeting at which it was decided to dispense with the services of the incumbent bandmaster so that one has only to imagine the underlying trauma and the contrasting mood of the players and their material to appreciate the professionalism with which the programme was rendered. (98)

The East Coast concerts were dual programmes which were undertaken at Cleethorpes in July and Filey the following month. The engagements, booked the previous January, carried a fee of £200 plus £145 transport costs. Despite the seemingly high fee, losses of £25 and £92 resulted from the engagements, in the case of Filey the loss being accentuated by the absence of a supplementary raffle, the General Committee ultimately sharing the cost of the deficit. (99)

The report of the Chairman at the A.G.M. the following February proclaimed the East Coast concerts as

"...successful, albeit unprofitable."

which makes it the more surprising that a decision was taken to replay both venues in the 1991 summer season and aim

"not to lose out financially." (100)

To that end the invoiced fee for a two-part concert at Cleethorpes on the 7th July was £250 plus £185 for the cost of the return journey, the engagement resulting in a nett profit of £194.05. There is no mention of an engagement at Filey so presumably the fee demanded was not forthcoming. (101) However, flushed with financial success, the Band played at both locations the following summer while enquiries were subsequently made in respect of concerts at Scarborough, Whitby and Cleethorpes for the 1993 summer season. (102)

The importance of regular concerts as vehicles for shaping and sharpening contest performance was clearly stated in respect of a series of local concerts undertaken in October and November 1991 which were

"...to be used to rehearse contest items." (103)

The increasing number of concert engagements at this time added to the myriad duties of the Band Secretary and increased the strain of the job. It was decided therefore to appoint a Concert Secretary with responsibility for booking and in 1992 Ruth Walton was appointed to the new post. The measure had been proposed by Roberta Beechey as early as 1985 but the duties had been subsumed by the Finance Committee at that time. (104) The essential involvement of the Band Secretary in overall administration of Band business together with the pace of events revealed the impracticality of the concept of devolved duties and by the middle of the decade the post had again been nominally absorbed by the Finance Committee. (105)

Concert engagements during the late 1980s whilst predominantly local had also covered a fairly extensive geographical area with Leeds, Doncaster, Scunthorpe and the East Coast resorts providing venues. By the following decade transport costs, allied to logistical difficulties such as the increasing utilisation of private transport and the problems this posed for the carriage of instruments on long journeys resulted in contraction of the area served. (106) The poor financial state of the Band necessitated an increase in the number of engagements undertaken and fees charged for the same and this carried implications for future participation in certain local events for which little or no payment was usually sought. While traditional support for social and civic events enhanced the reputation of the Band within the local community, the point at issue was whether the prestige value outweighed the financial benefit of an imposed fee. The situation was discussed at a general meeting in September 1996 at which it was decided somewhat ambiguously that

"a more balanced view in future should be possible." (107)

Some indication of a reappraisal had occurred in March 1994 when the Treasurer's report had revealed the parlous financial state of the Band with a number of outstanding bills emphasising the necessity of finding alternative sources of income. It was stated that the weekly draw which provided regular income required more intensive effort to attract public support. While an early meeting was scheduled to define fundraising schemes the obvious answer was to increase the number of social and concert engagements. (108) However, the strong sense of social obligation was retained and apart from attendance at the annual Remembrance Day service, other events of a charitable nature were undertaken for a set token fee or on occasion at the discretion of the organisers of a particular event. (109)

The weekly draw which had proved an invaluable financial asset since first introduced as a sweepstake in 1951 was still an important source of income in the 1990s when under the supervision of Yvonne Dudley it was covering basic costs by raising about £200 per week. (110) It was clear, however, that the draw was not being fully utilised despite an earlier appeal for volunteers in order to obtain potential customers (111) As in the past, the weekly draw was supplemented by periodic 'Grand Draws' promoted by a poster campaign to draw attention to the special prizes and sales outlets. (112) By the late 'Nineties the 'Grand Draw' had become a feature of the Christmas fundraising drive (113)

A projected target of £1500 launched the Christmas fundraising effort in 1996. The target was attained with the help of the 'Grand Draw' and supplemental activities such as that of Ruth Walton who, from the sale of items featured in the Webb Ivory catalogue, realised the sum of £150 commission. (114)

An application for a grant from the National Lottery was made in 1966. In common with other organisations seeking Lottery funding, the applicants found the procurement hedged with a myriad regulations resulting in delay and this was further exacerbated by a backlog in processing applications in general. (115) A prerequisite was the presentation of evidence showing that the Band was a formally constituted body. Thus, on the 17th September 1997 a constitution was formulated and the following month the Band's application was finally approved and a grant of £26,197 was awarded on the 16th of October. (116)

Lottery funding was, however, restricted to specific usage such as expenditure on instruments so the formal constitution so recently adopted was used in pursuance of grant applications to other social organisations.

Despite the generally acknowledged need for general fundraising the anticipation of a successful Lottery bid appears to have had a somewhat somnambulant effect for in May 1997 it was reported that no fundraising activity had been undertaken so far and that income was "suffering" compared to the previous year. (117) A dearth in the number of open day events held by local businesses and organisations was the ascribed reason but lethargy induced by the expectation of a further Lottery subsidy may well have played a part. (118) By October the need to "push on" with fundraising despite the anticipated Lottery grant resulted in recourse to the 'Grand Draw' and catalogue sale commission as supplements to the usual Xmas activities but unsurprisingly the outcome was less successful.

A successful approach to the Lottery Commissioner and a subsequent one to the Arts Council of Great Britain being carefully monitored to ensure spending met specifically stated aims meant that routine fundraising remained as essential as ever, a fact underlined in 1998 when it was revealed that the Band's finances were "in a poor state" which, notwithstanding the optimistic prospect of relief via projected events, merely underlined the importance of continual fundraising as an adjunct to solvency. (119)

When Raymond Hodgson made the innovative suggestion that the Band record a performance for public sale the plan was thwarted for want of available capital as much as technical limitation or commercial opportunity. In 1980 the principal medium of record production was, of course, the long playing vinyl disc. By the following decade technological advance allied to skilled marketing had produced the compact disc which quickly doomed the L.P. to virtual obsolescence. The rapid adoption of the new audio medium drove down production costs whilst only minimally affecting retail price, thus ensuring a substantial profit for record producers. It was against these technical and commercial developments that Hodgson's proposal was revived and negotiations for the production of a C.D. as a means of fundraising commenced.

On Saturday 16th May 1998 the Band met at Knottingley United Reform Church where under the baton of Kevin Belcher the first tracks were recorded for the appropriately named 'Debut' album, further tracks being recorded at the same venue the following month.

Produced by John Roberts and Andrew Belcher, the C.D. which was eventually released on the 'Brass Roots' label, was a joint venture. Initial production costs were met from Band funds 'while technical expertise was provided at little or no expense. In order to recoup capital outlay, it was estimated that a minimum sale of 500 discs at £12 each was initially required. Profit from the sale of a similar number spread over a 2–3-year period was to be shared between the Band and the production staff. (120)

Hopes that the C.D. would be available for sale on the Band stall at Knottingley Carnival in July were not fulfilled, thus denying a major sales opportunity and it was not until September that the product was launched with sales undertaken at concert engagements. Consideration by a section of opinion within Band circles that a price of £1O would prove more acceptable to the public resulted in the record being sold for £11` per copy. (121)

The items featured on the C.D. comprised arrangements from the traditional brass band repertoire leavened with a number of lighter, modern pieces, presenting an eclectic programme with a wide appeal designed to maximise sales.

Introductory sleeve notes were penned by Roy Baxter, Band Secretary, with the bandmaster, Kevin Belcher, presenting the featured items within a musicological context. The 'Debut' album was well received, the general feeling being that it was

"an excellent production of which the Band could be well pleased." (122)

Success led inevitably to a repeat venture. In July 2001, the United Reform Church again provided the recording studio for the Bands second album, 'Northern Lights'. No programme notes were provided for this album but the commendable practice of listing the musicians involved, which was a feature of the ‘Debut' album, was maintained. In addition, the cover photograph featured members of the ensemble posing with their instruments in front of the Royal Albert Hall, London. The second C.D. was in fact produced in connection with the appearance of the Band at the Albert Hall in the year 2000 where 'Abstractions', one of the featured tracks, was played at the National Championships.

'Solid Silver', produced in 2004, again listed the instrumentalists and featured a series of photographic vignettes taken during the recording sessions in the United Reform Church. Additionally, local individuals and organisations who had sponsored and supported the project were acknowledged, not least of which was a subsidy of £1,500 from the W.M.D.C. Community Chest.

The change in the line-up of the Band since the previous C.D. was produced is a noticeable feature, reflecting the growing success of the Band in the contest arena and the accompanying status during the interregnum and one of the reasons prompting the new production.

Produced by Alan Morrison and engineered by Mark Stainburn who had been active in all three recording ventures, the project again utilised the skills of Kevin and Andrew Belcher and like its predecessor, was issued on the Band's own label in order to maximise the financial return.

All three C.D.s adopted a similar format, designed to reveal the skill of the instrumentalists while presenting a melange of musical taste with wide public appeal. Numerous arrangements revealed the talent of Kevin Belcher and underlined the good fortune of the Band in procuring his services and the reason for its ever growing success.

The use of the United Reform Church has a significance beyond its obvious acoustical quality for in recent decades a special social bond has developed with the Minister and congregation, mirroring the relationship which existed between the Band and St Botolph's Church in a bygone era and restating the interactive connection with the local community which has characterised the history of the Band from its very beginning.

An unusual source of remuneration occurred early in 1997 when the Band was approached and asked to participate in a film written and directed by the internationally acclaimed poet, Tony Harrison. The film was financed by the National Lottery Fund and produced under the aegis of the Channel 4 television company and was a contemporary interpretation of the legend of Prometheus, the film taking its title from the eponymous hero.

Apart from featuring the Knottingley Band the film utilised the long derelict Palace Cinema in Aire Street for one of the key scenes whilst over a period of two days in midsummer the Band featured in scenes filmed on Howards field and the outskirts of Ferrybridge, the cooling towers and chimneys of the power station providing a suitable backdrop. The involvement of the Band and also that of Rossington Colliery Band had arisen from contact with the Sharleston Colliery Band to which an initial approach had been made on behalf of the producers of the film. The £1,000 fee whilst an inducement to participate in the production proved less attractive when considered within the context of the demands made on the time of the Band members who in many cases lost money by their necessary absence from work. Frustration arising from the nature of film production with its seemingly unproductive waste of time, prompted unsuccessful demands for compensatory payment. The experience although unique in the annals of the Band was therefore one not universally enjoyed. The project was valuable, however, in reinforcing the bond of fellowship between the two participating bands, a fact amply testified when, following the death of the erstwhile Secretary of the Knottingley Band, G.W. Hodgson, in 1997, both bands played him to rest. (123)

If concerts and social engagements are the financial lifeblood of the Band it is success in contests which brings glory and renown, although the two spheres are not mutually exclusive.

The changing social and economic scene of the 1980s meant that by the end of that decade many long established regional brass band associations had become defunct, the principal one remaining being the Yorkshire & Humberside Association to which Knottingley Band subscribed. By that period, the contest format comprised three basic types of performance

1. the set piece, in which all contestants play the same piece of music.
2. free choice, with individual bands playing an item selected from the repertoire of test pieces
3. entertainment, in which each contesting group play a 25-minute programme of music including a march and a hymn.

Naturally, the set piece format is the one which encapsulates the traditional contest event with the common test piece being played anonymously by all the contestants, a preliminary draw determining the order in which each band will play.

Entry to the final round of this most prestigious form of contest, the annually held National Championships, is a protracted process which in its nature most nearly resembles the structure of the English football league. The nation's bands are divided into four competing sections, competing in a series of regionally based contests with the winners and runners up not only progressing to the next round of the National Championships but being promoted to the section above the following year while the bands at the bottom of any particular section are relegated.

The contest record of Knottingley Band is a matter of no little pride. As shown above, the Band distinguished itself during the early decades of the twentieth century. Reference to its appearance in the National Finals in the last half century reveals that despite its vicissitudes the Band has maintained and even exceeded that enviable standard. viz: -

The decline to near extinction in the 'Eighties meant that between 1987-90 the Band was unable to participate in the National Championships but the revival of the following decade resulted in re-entry into the Yorkshire Area elimination contests and the record reveals a progression through the ranks which can only be described as amazing given the overall situation in the late 1980s.

The appearance in the Finals at the Wembley Conference Centre in October 1992 was the first time since its heyday in the 1960s that the Band had had reached the final stage. The Band had to beat 14 other bands to qualify, being runner up to Cottingham in the Yorkshire Area contest at St George's Hall, Bradford, the previous March. The Band's Youth Policy had begun to pay dividends, no less than 15 youngsters being inducted into the Band some three years earlier. The performance of Bruce Fraiser's 'The Seafarers' in the regional elimination concert was undertaken by twenty-eight instrumentalists ranging in age from 10 to 78. (126)

The Band had performed 'The Seafarers' at a contest in Kirkby in Ashfield, Notts, organised by the Coal Industry Social Welfare Organisation in February 1992. After travelling to the venue in thick fog, the newly renamed 'Knottingley Band' won the contest. The 27 strong contingent representing the oldest band in the contest, contained several youngsters between the ages of 9-16 who only a few years before had been unable to play a note. Despite their triumph the Band was not invited to appear at the C.I.W.S.O. national finals as it was not a colliery band - instead it played at the Yorkshire Area National Championships in March with commendable distinction. (127)

In order for the Band to appear in London it was necessary to raise £4,000 to cover projected expenses, a task faced and overcome before and since. Band and supporters left Knottingley enroute for London on the morning of Friday 2nd October, arriving at the Britannia Hotel, Canary Wharf, in time for an afternoon rehearsal. Leaving the hotel at 6.30 the following morning, the Band held a final rehearsal of 'Prelude, Song & Dance' by John Golland, prior to the commencement of the contest at 10 a.m. (128)

From twenty-one finalists the Band was awarded 3rd place, bringing home a certificate and £500. The members of the ensemble, each sporting a white Yorkshire rose on their uniforms, were also commended on their smart appearance, an echo of the occasion at the de Montfort Hall, Leicester, in 1937 when the Band won the prize for deportment. (129) A further distinction was that half the 27 strong Band consisted of players under 16 years of age, with no less than 11 females in the group photograph taken in the immediate wake of its triumph.

The prize money was used as the basis of an appeal launched to obtain £2,000 to enable the purchase of a pair of pedal timpani, an indication of the enormity of the financial demands facing small, independent, unsponsored bands today. (130)

The Band rounded off 1992 by taking first prize in the Huddersfield & District Brass Band Association's annual contest. Of eight bands taking part, Knottingley Band won comfortably by a margin of four points, playing the test piece 'Dimensions' by Peter Graham. (131) Flushed with success, the Band was reported to be tuning up well in advance of the forthcoming contest in February 1993 to decide who should represent the County in the National Finals the following October. (132)

The revival in the Band's fortunes resulted in its promotion to Section 3 in 1992. The necessity for the Band to adapt to a higher standard of musicianship was evident the following year when the Band was placed 9th in the Yorkshire Area contest for the National Finals. The termination of Steve Platen's tenure as bandmaster shortly thereafter may have proved psychologically detrimental for in 1995 the Band again occupied 9th position and was in danger of being relegated to Section 4 and was only spared when an appeal against relegation was upheld. The justification for the decision was seen in the rise to 4th position in 1977, and the year following, the first since Kevin Belcher's appointment as bandmaster, the Band went one place higher and secured promotion to Section 2. By the start of the new millennium the Band had experienced two Championship Finals, being promoted to Section 1 in 2001, the highest position attained in the entire history of the Band.

The National Championships were only the supreme example of the contest arena in which the Band participated at this period. The emergent revival was manifest as early as 1990 when under the aegis of the Yorkshire & Humberside Association the Band gained three first places and occupied second position in two additional district contests. (133) Contests at Cleethorpes, Easingwold, Malton and Doncaster the following year did not exhaust the musical appetite with others at Hardraw Scar and Huddersfield being considered. Indeed, such were the demands of contest participation that in August 1983 a Music Committee consisting of bandmaster, Raymond Hodgson, Brian Pollard, Terry Clayton and Roger Clayton had been established to consult and determine pieces to be featured in future contests. (134) The decline and ultimate inability of the Band to participate in contests in the closing years of the decade resulted in the Committee becoming defunct and with the revival the duties reverted to the Band Secretary.

Spring 1993 witnessed three contest appearances within a single month. At Pogson Bray on Sunday 4th April, the Band played ‘Dimensions' and 'North Star' before appearing in Pontins contest five days later. It is interesting to note the degree of diversity concerning contest regulations and arrangements. For the former contest, the Band undertook a pre-contest rehearsal at Eastborough Workingmens' Club before taking lunch at a nearby hostelry. No such facilities were afforded for the Pontins event.

The draw for order of playing was at 10.00a.m. and the contest held at Ainsdale Beach, commenced one hour later. The Pontins contest also precluded 'borrowing' of unregistered players in order to ensure full playing strength whereas other contests adopted a more accommodating attitude. On the 2nd May the Band was engaged in a contest under the aegis of the Yorkshire & Humberside Association where 'Music For A Festival' and 'North Star' were the featured programme and the Band, unable to afford its own, borrowed a pedal timpani from the Dinnington Band. Despite intensive rehearsals for the above events the Band still managed to include a concert engagement at Kellington Church on the 24th April, playing two 40 minute spots. (135)

Parting company with bandmaster, Steve Platten, in 1994 appears to have resulted in a hiatus in contest appearances but a plethora of concerts and fundraising events kept the Band attuned and by August the vacancies which had caused concern earlier in the year were filled with 34 players being registered, just one short of the maximum number allowed. (136) In November 1996 the Band secured a dual success when, competing against seven others from the north of England, it won the Malton Brass Competition gaining the Masses Challenge Trophy and £200 prize money. In addition, soprano cornet player, John Belton, was awarded first prize in the stand-up soloist section, playing 'On With the Motley' from Leoncavallo's opera, ‘Pagliacci'.

The busy season ended with the Xmas programme, commencing with a concert at the Knottingley Conservative Club in late November and followed a week later by one undertaken in conjunction with Featherstone Male Voice Choir. (137) The Christmas activities marked the end of a very satisfactory year. Prior to the Malton result the Band had enjoyed success in four out of five contests, the exception being the important 'Area' appearance in the National Championships. However, variable standards were a disturbing feature, particularly with regard to concert performances. There is no doubt that the perennial problem of lateness and absenteeism from rehearsals was the cause of failure to maintain a consistent standard and while some rank and file members expressed dissatisfaction with the degree of repetition on practice nights, it was pointed out that what was played was governed

"by how many and which bums are on seats"

with as many as one third of members often missing from rehearsals. (138)

Nevertheless, there was a general consensus that rehearsals were becoming "over focused" on contest requirements, robbing them of the desired spontaneity and enjoyment. The schism resulted in the departure of Ian Colley and the eventual appointment of Kevin Belcher as bandmaster. (139)

Under Belcher's guidance the regular contests took place but it was in the sphere of the National Championships that the most notable success was achieved, providing a platform for even greater success at the start of the new millennium.

Prestige and accompanying status rather than financial gain was the principal benefit accruing to contest success as shown by reference to a contest held at Ashton-Under-Lyme in April 1998. Prizes of £500, £300 and £200 were awarded for the first three places. While the sums may appear superficially attractive it must be borne in mind that contest expenses such as accommodation, hire of rehearsal room, meals and travel and transport costs made inroads into such sums whilst success on one occasion had to subsidise failure on others. (140) The luck of the draw should also be mentioned, for all bands dread drawing the number one playing spot which imposes a psychological burden on both adjudicator and adjudicated which usually works to the disadvantage of the unfortunate band playing first, a fact ascribed to the "disappointing" result of the Knottingley Band at the Easingwold contest in 1988. (141)

In spite of such considerations, contesting remains the quintessential feature of banding and the sphere in which the elevated attitude and standard achieved under the stewardship of Kevin Belcher ensured that the Band reached the pinnacle of success by the end of the twentieth century.

Terry Spencer 2006

---

CHAPTER SIX NOTES:
(1) Minute Book 'C' 13-9-1982.
(2) loc cit 4-10-1982.
(3) ibid 9-7-1982.
(4) ibid 4-10-1982.
(5) ibid 7-4-1981 for example of a direct approach seeking sponsorship for the Band being disregarded.
(6) Minute Book 'B' 7-1-1977.
(7) Minute Book 'C' 16-8-1983.
(8) loc cit 22-6-1988.
(9)) Minute Book 'D'. Unspecified date, July 1997. Also ibid 17-9-1979.
(10) Minute Book 'C'. 2-10-1985.
(11) ibid 11-2-1983 & passim.
(12) ibid 22-6-1988.
(13) ibid 12-7-1988.
(14) ibid 21-7-1988.
(15) ibid. Unspecified date January 1989 & 31-7-1989.
(16) ibid 21-7-1988 & Unspecified dates in January & February 1989.
(17) ibid 16-6-1990
(18) ibid 18-6-1990
(19) ibid
(20) ibid. Michael Milner's wife, Anita, stated that she wished to continue as a member of the Band, pro tem, and was allowed to do so. The passage of time has had an emolient effect and today all parties exhibit goodwill based upon mutual respect.
(21)ibid 4-9-1990.
(22) ibid 26-2-1991.
(23) ibid 17-6-1992.
(24) ibid 3-8-1992 & 15-3-1993.
(25) ibid 14-3-1994.
(26) ibid 29-3-1994.
(27) Minute Book 'D' 13-3-1995.
(28) loc cit 1-10-1996, 12-11-1996 & 21-1-1997.
(29) ibid 21-1-1997.
(30) ibid 18-9-1996.
(31) ibid 12-11-1996.
(32) ibid 11-3-1997.
(33) ibid 6-5-1997.
(34) ibid.
(35) ibid 17-9-1997.& Minute Book 'C' 8-7-1989.
(36) Minute Book 'D' 21-10-1997.
(37) loc cit 14-1-1998.
(38) ibid.
(39) ibid & 2-7-1998.
(40) ibid 14-1-1998.
(41) ibid 16-9-1998.
(42) ibid 18-1-1999, 23-3-1999, 14-6-1999, 21-3-1999 & 25-3-2001.
(43) ibid 23-3-1999 & 31-10-2001.
(44) Minute Book 'C'. 26-12-1991.
(45) ibid 17-6-1992.
(46) ibid 23-3-1993 & 2-8-1994.
(47) ibid 14-3-1994 & Minute Book 'D' 13-3-1995.
(48) ibid 1-10-1996 & Minute Book 'C' 12-11-1996.
(49) ibid 4-10-1982 & 1-4-1985..
(50) ibid.11-2-1983.
(51) ibid.
(52) ibid 1-4-1985.
(53) ibid 4-11-1981 & 16-8-1983.
(54) I am indebted to Mr Brian Pollard for this information.
(55) ibid.
(56) Minute Book 'C' 21-7-1988.
(57) ibid 11-2-1983.
(58) ibid 31-8-1989.
(59) Minute Book 'D' 9-10-1995, 17-9-1997, 2-7-1998,23-3-1999 & Minute Book 'C' 18-9-1986
(60) Minute Book 'D' 17-9-1997 & 23-3-1999.
(61) Minute Book 'C' 19-9-1984 & Unspecified date September/October 1989..
(62) ibid 1-12-1982.
(63) ibid 11-2-1983. R.H. Baxter, an erstwhile active supporter and later full member of the Band, was instrumental in establishing the Finance & Fund Raising Sub Committee subsequently known as the Finance Committee), serving as its secretary and continuing to do so after being elected as Band Secretary in 1988.
(64) ibid 16-8-1983.
(65) ibid
(66) ibid 25-1-1985.
(67) ibid.
(68) ibid 19-9-1984.
(69) ibid. Undated entries February & April 1989.
(70) ibid. Undated entries January & February 1989 & Minute Book 'D' 12-11-1997 & 11-3-1997.
(71) Minute Book 'C' 22-6-1988 & 21-9-1988.
(72) ibid. Undated entry January 1989.
(73) ibid. Undated entry February 1989.
(74) ibid 31-7-1989.
(75) ibid 14-11-1989, 17-6-1992 & 9-11-1992.

(76) ibid 3-8-1992 & 15-3-1993.
(77) ibid 9-6-1990 & 18-9-1996.
(78) ibid 14-3-1994 & Minute Book 'D' 12-11-1996 & 21-1-1997.
(79) ibid 6-5-1997 & Minute Book 'C' Undated entry April 1989, 17-11-1997 & 31-7-1998.
(80) Minute Book 'C' 4-5-1989, 13-5-1989 & undated entry June 1989.
(81) ibid. Undated entry July 1989 & 31-7-1989.
(82) ibid 19-6-1990 & minuted telephone conversation between Milner and Baxter 17-6-1990.
(83) ibid 26-2-1991.
(84) ibid 17-6-1992.
(85) I am indebted to Mr R.H.Baxter for this information - interview 12-5-2005.
(86) ibid 11-2-1981, 7-4-1981 & 17-7-1981.
(87) ibid 13-9-1982 & 4-10-1982. Also, c.f. Minute Book 'D' 21-10-1997.
(88) ibid Minute Book 'C'.16-8-1983, 19-9-1984 & 22-6-1988.
(89) ibid 13-11-1993.
(90) ibid 4-5-1989.
(91) ibid 19-9-1984.
(92) ibid 13-5-1998.
(93) I am indebted to Mr R.H. Baxter for this information- interview 12-5-2005.
(94) Minute Book 'C' undated entry August 1998 & 3-4-1990. The sum of £540.40 was raised by the wassail.
(95) ibid 30-1-1990. The Cleethorpes concert took place 1-7-1990 and that at Filey on 12-8-1990.
(96) ibid 30-1-1990.
(97) ibid & 16-6-1990 & 19-6-1990.
(98) ibid 16-6-1990.
(99) ibid 30-1-1990 & 4-9-1990.
(100) ibid 26-2-1991.
(101) ibid 17-6-1991 & 29-7-1991.
(102) ibid 3-8-1992 & 9-11-1992.
(103) ibid 29-7-1991.
(104) ibid 17-6-1992 & 9-10-1985.
(105) ibid 9-10-1985 & 14-3-1994.
(106) Minute Book 'D' 2-7-1998.
(107) ibid 18-9-1996.
(108) Minute Book 'C' 14-3-1994.
(109) Minute Book 'D' 11-3-1997, 6-5-1997 & Undated entry July 1997. It is interesting to note the degree of mutual interaction and support between local bands. Thus Knottingley Band together with those of Marsden and Diggle, appeared at band clubs such as Kippax and Holme at reduced fees. Participation in massed band performances for charitable causes, often featuring local choral groups and bands, was also manifestation of esprit de corps within the banding community. c.f. Minute Book 'C' 16-3-1992 & 3-8-1992, and Minute Book 'D' 9-2-1997 & 15-9-1998.
(110) Minute Book 'D' 14-1-1998, 17-7-1997 & 18-5-1998.
(111) ibid 1-10-1996 & Minute Book 'C' 17-6-1992.
(112) ibid 15-3-1993 & 2-8-1994.
(113) Minute Book 'D' Undated entry June 1997.
(114) ibid 12-11-1996 & 4-1-1998.
(115) ibid 6-5-1997.
(116) ibid 17-9-1997 & 21-10-1997.
(117) ibid 17-9-1997.
(118) ibid 14-6-1999.
(119) ibid 18-5-1998.
(120) ibid 2-7-1998 & 15-9-1998.
(121) ibid 15-9-1998.
(122) ibid 16-9-1998.
(123) I am indebted to Mr R.H. Baxter for this information. Also, c.f. Spencer T. 'Palace Cinema Knottingley' (1999) p15.
(124) I am indebted to Mr B. Pollard for this information.
(125) I am grateful to Mr R H. Baxter for these details.
(126) Pontefract & Castleford Express, (Second Section), 12-3-1992.
(127) loc cit 13-2-1992, p14..
(128) ibid 1-10-1992, p13..
(129) I am indebted to Brian Pollard and Band colleagues for this information.
(130) Pontefract & Castleford Express 8-10-1992, p3.
(131) loc cit 17-12-1992, p19.
(132) ibid.
(133) Minute Book 'C' 26-2-1991.
(134) ibid 16-8-1983.
(135) ibid 23-3-1993.
(136) ibid 29-3-1994 & 2-8-1994.
(137) Pontefract & Castleford Express 28-11-1996 p22 & Minute Book 'D' 21-1-1997.
(138) ibid 18-9-1996 & 8-9-1996.
(139) ibid 11-3-1997.
(140) ibid 14-1-1998.
(141) ibid 2-7-1998.