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Those of us who have already made his acquaintance experience a thrill of anticipation as we wait to welcome him again. His father bought him a guitar, but insisted that he take lessons, so Martyn took lessons in classical guitar for about three years. The guitar stayed in the background (but active) all the while as he played in golf tournaments. Having received encouragement, he went into a small studio in Cardiff and made a demo tape of the songs hea€™d written for the youth group production, plus a few more that hea€™d also written, then sent them to music publishers.
Martyn was working part time for his father in the ceramic tile business and turned to him for half the money to make an album. As a result of his popularity in the Christian music world, around 1988, Martyn was approached by Tearfund a€” a relief and development charity working in partnership with Christian agencies and churches a€” to write songs to help solicit donations. Additionally, one member of the administration at Ears and Eyes had embezzled funds and shortchanged musicians.
A follow-up live album, An Aching and a Longing (1989), further accentuated Martyna€™s widening perception of the human condition. Martyna€™s first song to make the English charts was a€?Dolphins Make Me Cry,a€? heard initially on Treasure the Questions and included on his major label (Sony) 1992 release, Being There.
Part of Martyna€™s political consciousness was forged in the struggles of the Welsh miners.
Martyn pays homage to the legendary American singer and blacklisted activist Paul Robeson, who supported many workers in their struggles, in particular, the miners of Wales. The first YouTube video I saw of Martyn (and there are many) was a€?How Did We End Up Here?a€? It was written during the Bush administration. In his 26-year career, he has sung all over the world.A  This spring he is taking his extraordinary gifts west from his native Wales to perform in the United States.
The guitar stayed in the backgroundA  (but active) all the while as he played in golf tournaments.
The two sides of Martyna€™s personality co-existed, with the emphasis on athletics, until he was around 15. Martyn was working part time for his father in the ceramic tile business andA  turned to him for half the money to make an album. A follow-up live album, An Aching and a Longing (1989), further accentuated Martyna€™sA  widening perception of the human condition. The common thread running through Martyna€™sA  songs is the constant search for justice for everyman. Martyna€™s first song to make the English charts was a€?Dolphins Make Me Cry,a€? heard initiallyA  on Treasure the Questions and included on his major label (Sony) 1992 release, Being There.
In 1999, Martyn released his first album, Far From Silent, on his own record label Pipe Records. The stations comprise lime-wood reliefs mounted on an oak base surmounted with the cross, and are to be found on the walls of the nave. The devotion reflects the practice of pilgrims to Jerusalem who, from earliest times to the current day, have followed the way of the Cross from the house of Pilate to Calvary and wished to re-enact this journey on their return home. The traditional pilgrimage route in Jerusalem starts at the site of Pilate’s Judgement Hall in the Antonia and follows the Via Dolorosa through the narrow streets of Old Jerusalem to come to the Basilica of the Holy Sepulchre on Calvary Hill. When the Franciscans received custody of the holy places in medieval times, they encouraged the erection of tableaux in their own churches depicting the sacrificial journey. With the recovered theology of the paschal mystery stressing the integral unity of Christ’s death and resurrection, a fifteenth station representing the resurrection has frequently been added to the series. The Old Saint Paul’s archives reflect our long history of worship, social care and structural development. Extensive written records of baptisms, confirmations, marriages and burials exist from 1735 onwards and there are other minute, seat rental and account ledgers, congregational rolls, and service and offertory records from the late 18th century.
An annotated catalogue of all this material has been prepared which shows details of the date ranges and contents of each book. Photographs of the church, clergy and events at OSP cover the late 19th century, from 1895 to the present, and show the rich diversity of worship and social events that haven taken place here.
Plans of the various structural modifications to the church show how its architecture has developed over the past 125 years.
The Old Saint Paul’s website has been designed to be accessible to as many different browsing devices as possible, including screenreaders and mobile browsers.
The site complies with XHTML and CSS coding standards recommended by the World Wide Web Consortium.
CSS is used to format the content of the site for display on computer monitors, and to ensure that background images and colours intended only for screen display do not appear when pages are printed. The site’s content is accessible to all browsing devices capable of rendering a basic XHTML tagset.
A print stylesheet has been created to hide inessential page content such as masthead images, sidebars and footers from printers.
If you are using an older browser, including Internet Explorer 6.0, we recommend you take a couple of minutes to upgrade it. For more details about booking the hall, and its availability, please contact the church office by email (or phone, Wednesdays and Fridays).
Baptised members of all churches are welcome to receive Holy Communion; all are welcome to receive a blessing at the altar. 10.30am - High Mass, with Sunday School and Creche Refreshments are available after High Mass.
6.30pm - Solemn Evensong & Benediction During choir vacation in July Evening Prayer is said. It is known that the building had an organ by 1712, although this was removed by Bishop Rose in 1716 and eventually found its way to Grantown Episcopal Church.
In the mid-19th century the church building became structurally unsound and it was closed in 1873. Slight modifications were made to this instrument in 1936; it was electrified and enlarged in 1960 when a new console with tab stops was provided. By the mid 1970s the organ was in need of complete cleaning and the 1960 console was causing problems. The work was carried out in conjunction with the then organist, Alistair Pow, and with advice from Roy Massey of Hereford Cathedral. The organ as it now stands is a fine, flexible instrument which accompanies services particularly well and which is also a fine vehicle for much of the solo organ repertoire. SO FAR AS we can tell from the archival material available, Old Saint Paul’s has had a choir for most of its life, perhaps from the late 19th century when the congregation moved into the present building.
The late Alistair Pow worked hard to build up the choir’s contribution to the liturgy during the 1970s.
Leslie Shankland was assistant to Alistair Pow from the 1970s onwards, and eventually took over as Director of Music on Easter Day 1980 when Alistair moved on.


Among British cathedrals, St Mary’s had been pioneering in having a mixed treble line as early as the 1970s. In June 2007, Les Shankland resigned because of family commitments, having given more than 30 years of unstinting service to Old Saint Paul’s.
Over the years since Old Saint Paul’s humble beginnings in the late 17th century, our worship styles have evolved from secret prayer meetings in an old wool store to something enriched and developed by history across the centuries.
The Mass (or Eucharist or Lord’s Supper) is at the heart of Christian spiritual life.
Old Saint Paul’s is part of the Edinburgh diocese of the Scottish Episcopal Church, which is part of the world-wide Anglican Communion.
We ask all members of the congregation to keep their giving under review and to raise it when they can. If you are a taxpayer and you sign a Gift Aid declaration, we can claim back tax on your offering (currently 25p for every pound).
The Glorious Revolution: King James VII flees to France, replaced by the Protestant Mary & William III of Orange. There have been people worshipping on this site since 1689, when a breakaway group from the old Cathedral of Saint Giles led by Bishop Alexander Rose moved into an old wool store in Carrubber’s Close. Although the present building dates from the 19th century, Old Saint Paul’s has a history going back 300 years to the beginning of the Scottish Episcopal Church.
The Reformation came to Scotland in 1560 under John Knox, the first Protestant minister of Saint Giles’ Church.
Whilst the Presbyterian Church was loyal to the new Protestant monarchy, the Episcopalians remained staunchly Jacobite, loyal to James and his descendants. As a result of the Risings, any Episcopal chapel was regarded as a potential bed of treason and repressive laws were passed. After the Jacobites’ defeat at Culloden in 1746, Episcopal clergy ran the risk of imprisonment or deportation to America. Remembering his days at Saint Paul’s, he returned to Scotland and was consecrated in 1784 in Aberdeen.
In the middle of the 19th Century the liturgy at Saint Paul’s was affected by a variety of influences, most notably by the first emergence of the Anglo-Catholic Oxford Movement. One figure looms large over the first half of the 20th century, that of Albert Ernest Laurie, who became Rector in 1898 and held this position until his death in 1937. Since that time, members of the congregation have included people of all walks of life in Scottish history, from supporters of Bonnie Prince Charlie to enthusiasts for the modern Scottish Parliament, from the wealthy to the poor, from the conventional to the eccentric. This great variety of people share something in common - they love the liturgy at Old Saint Paul’s.
The uniquely special services that happen in Holy Week, the most important part of the Christian Year, are profound symbols of Christian faith. Of course there are other special services throughout the Christian Year: please see Forthcoming Services for details of our next services, and Regular Service Times for times of our regular weekday services. We value the link with former ages represented by the ancient liturgy and its formal dignity. This we make tangible in a whole range of ways from our Walking Group and the Tithing Group to the Vestry and the Finance Committee to the Property Committee. From time to time we run short courses for people who want to find out more about the worship tradition here, or perhaps about the Episcopal Church, or about the Christian faith more generally. So whether or not you have already come inside Old Saint Paul’s, I would like to invite you to find out a little more about just who we are and what we do. The ordained ministry team at Old Saint Paul’s consists of myself and Jenny Wright (stipendiary deacon). I hope that you will find Old Saint Paul’s to be a true spiritual home, a community in which you can feel accepted and valued for being yourself, and in which you too can find the love of God and the friendship of others. Ita€™s not hard to re-imagine him as a giant nimbus cloud, his big baritone a low rumble of warning thunder. Martyn Joseph was born in 1960, in Penarth, Wales, about five miles from the capital city, Cardiff.
That first guitar was of the typical flat-top steel string variety, so, to make matters easier, after one year, he got the wider-necked classical type. He got back a few positive messages of encouragement, but nothing more, until a new company, Eyes and Ears, offered to pay for half the cost of production of a record. Martyn had been deeply rooted in the principles of faith and devotion to Christian principles and finding solutions to lifea€™s thornier problems within its strictures.
When Martyn found out, his view of the world widened, and it now included many of lifea€™s seedier aspects. He especially makes a case for downtrodden people who have not gotten a fair shake in life.
Taken verbatim from his wifea€™s reaction to dolphins at an aquarium, the title gives a false impression about the nature of the song. They were among the first to fight against the tyrannical yoke of company and government overseers. Some of the later albums that I downloaded, Deep Blue (2005), Vegas (2007), Evolved (2008) and the aforementioned Under Lemonade Skies (2010) show how his songwriting has kept pace with folk audiencesa€™ hunger for stronger poetic expression of personal and universal themes. We in the New York area are fortunate to have a chance to see Martyn in some intimate settings.
Some of the later albums that I downloaded, Deep Blue (2005), Vegas (2007), Evolved (2008) and the aforementionedA  Under Lemonade Skies (2010) show how his songwriting has kept pace with folk audiencesa€™ hunger for stronger poetic expression of personal and universal themes. They were restored by the Conservation Department of the National Museums of Scotland in March 1996.
Many of the fixtures and fittings in the church have been photographed and documented, putting them in the historical context of major gifts to the church. When you print one of the site’s pages the body text and any relevant images will be printed, but nothing else.
Current uses include dance sessions, concerts, band rehearsals, public meetings and social occasions. Please note that the hall is never available on Sundays before 2pm (when it is used for parish activities).
Three further instruments seem to have been in use in Old Saint Paul’s until the present instrument was installed. Like many chancel organs, it suffers slightly from its position, speaking across the chancel rather than directly into the nave. Apparently women were sometimes drafted in to swell the ranks, but were obliged to sing from the Memorial Chapel, since they were not permitted to appear in the choir stalls!  Happily, times have changed. Les continued to diversify and extend the choral repertoire, and steadily to raise musical standards. The rest of our choir members are volunteers, and we are always happy to hear from new volunteers.


This does not include the costs of any exceptional expenditure; just day to day running costs, and our routine maintenance programme.
Rather, we want everyone to feel such an integral part of this community that each one of us gives according to our means with the same kind of spirit of generosity we would give to any other member of our family. Members of Saint Paul’s were in the front line of the Jacobite struggle, several having been in action in the Risings of 1715 and 1745. It was only after the death of Prince Charlie in 1788 that the association of the Episcopalians with Jacobite treason was shaken off. Conflict over liturgical matters led to a breakaway church being founded, St Columba’s by the Castle.
Laurie’s life reflected his intense devotion to the Blessed Sacrament - he continued the gradual shift to a more Catholic form of worship and he was a caring and faithful pastor to his flock. A joint service with Saint Giles’ Cathedral included a procession up the Royal Mile, retracing the path of Bishop Rose, and High Mass was celebrated in the old Cathedral for the first time in 300 years. This website will help you get a sense of the people and the range of events and activities that make up our Church.
One of the gifts God seems to have given us, in the past and in the present day, is an immense variety of members. There is Palm Sunday, followed by Tenebrae on Wednesday, the High Mass of Maundy Thursday with washing of the feet and stripping of the altars, the Liturgy of Good Friday and the wonderful celebration of High Mass of the Easter Vigil at 5.00 in the morning, followed by breakfast and a second High Mass at a more civilised 10.30am!
We look after our young adults and children, and of course we support and value our wonderful Choir. But please ask me - or any of the people named in our Who’s Who section - if you have any questions or suggestions. Above all, I would like to welcome you into our church, to be a part of our vibrant and interesting - indeed, some say distinctively offbeat - congregation. We are always available to you for pastoral support, personal discussion, and spiritual counsel. He liked the melancholy in Elvisa€™ voice and recalled to me some of his favorites: a€?Suspicious Minds,a€? and a€?The Wonder of Youa€? among them.
Martyn played in local shows connected with a church youth group, while never having any sense that this would be what he would do with his life. The bassist Tommy Simms, close to embarking on a producing career, offered to produce Martyna€™s next album, and Martyn accepted. As he has said elsewhere: a€?I guess ita€™s about caring about the world and just wanting everyone to have a fair deal. In the 1940 British film Proud Valley, Robeson portrayed a black American a€?David Goliath,a€? who works, sings and stands with them in their time of need.
At the Kerrville festival, wea€™d sure like to be around any campfire where Martyn shows up. The stations were installed in Old Saint Paul’s on 23 March 1996, and used for the first time on Palm Sunday 1996.
During the annual Edinburgh Festival Fringe the hall is converted into a performance space as Venue 45. Nicholson’s of Worcester was chosen to rebuild the organ, to replan the specification and to provide a new console. Edinburgh Society of Organists, 1991) for further information on the early history of organs in Old Saint Paul’s. By the early 1990s it was clear that we could no longer manage to maintain a treble line of boys alone as we had done in the past. Since we sing a wide range of music on minimal rehearsal, good sight-reading skills are essential. Besides, this giving is a very practical, tangible way of showing our commitment to God and to the community in which we live. You only need to sign one form, but can adjust the level of your giving as and when necessary or desired. In the new anti-Catholic climate, the Church of Scotland abolished the rule of bishops, the last remaining element of the pre-Reformation Church. In later years he was chosen to become the first Bishop of the United States and returned to Britain to be consecrated. He received the Military Cross for his bravery in caring for the wounded at the battle of the Somme, and there are numerous tales of his continued acts of charity to his flock in the Canongate.
We are also looking to the needs of the present world, including those of the people we are involved with in our own lives, day by day.
He also took particular notice of Elvisa€™ Rock and Roll Hall of Fame-member lead guitarist, James Burton.
He also performed in school concerts, playing Spanish classical pieces solo at one concert and at another as a member of a rock band. In his book, Notes on Words, he states: a€?I guess we view life from wherever we stand, and my vision had been a little blinkered and comfortable to that point. I have found little peace or happiness in any situation where I was aware that others were not feeling the same.a€? There may be no one who casts a wider net in exploring the mysteries of life, death and faith than Martyn. Taking some elements from the film, some from life, in a€?Proud Valley Boy,a€? Martyn sings in the voice of an old Welsh miner in the 1980s after the mines had closed, leaving him to learn typing in a re-training course. The great dulciana was extended down to 16’ pitch, and several other changes and additions were made. The above account draws on information from that publication, and also from material provided by Alistair Pow. Instead, we followed the lead of our own St Mary’s Episcopal Cathedral in Edinburgh in building up a treble line of boys and girls (up to about the age of 15 or 16). When he was 10 years old, he saw Glen Campbell play an Ovation guitar on television and asked if he could get a guitar.
There were also local Eisteddfods, a more traditional type of festival, where he performed as well. There was a leap from writing quite positive upbeat material obsessed with answers and very few issues, to songs that explored questions, contradictions and the political.
Additionally, a teacher in school played guitar and sang songs and had something of an impact.
There were many reasons for this, but I think one of the main contributing factors was my visiting the Third World for the first time and sitting with people who not only lived in abject poverty but also had no legitimate means of doing anything about it.
His grandfather, who belonged to a older gentlemana€™s group that got together to sing old songs, showed him chords on the piano. While Boyce was primarily a comic performer, he also recorded more serious songs about the struggles of Welsh miners, which had an impact on Martyn.



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