In this superb collection of colour photographs Martin Hart records the iconic 1960s diesels built by English Electric. This is the first volume in the Amberley Railway Archive series.

The English Electric Lightning was the only British built fighter capable of Mach 2 to enter RAF service. Although frustrated by British officialdom the Lightning did serve with the RSAF and Kuwait. The only flying examples are now at Thunder City in South Africa.

The early 1950s were a boom time for British aviation. The lessons of six years of war had been learned and much of the research into jet engines, radar and aerodynamics had begun to reach fruition. In Britain, jet engine technology led the world, while wartime developments into swept wing design in Germany and their transonic research program were used to give western design teams a quantum leap in aircraft technology. At English Electric, 'Teddy' Petter's design team were keen to capitalize on the success of their Canberra jet bomber and rose to the challenge of providing a high speed interceptor for the RAF. Martin W. Bowman describes the career of the Lightning in detail using first-hand accounts of what it was like to fly and service this thoroughbred. Illustrated with over 200 color and b/w photographs, appendices listing Lightning squadrons, production totals, individual aircraft histories and with the first in-depth analysis into why a third of all Lightnings were lost, The Men Who Flew the English Electric Lightning is a fine record of the last truly great all-British fighter.

This amazing airplane first flew in 1949, and as at 2005, is still in front-line service with the RAF. It has served in a variety of roles including those of medium conventional bomber, tactical nuclear bomber, photo-reconnaissance, night intruder, navigational trainer, maritime strike, electronic countermeasures, and atomic cloud sampling and target-towing. It was manufactured in the USA under license as the Martin B-57, and in Australia under license as the Canberra B-20. It has been exported to Argentina, Chile, France, Germany, India, Peru, Sweden, Venezuela, South Africa and other Commonwealth countries. This book looks at the development of the aircraft during the early days of jet power and especially at its Rolls-Royce Avon power-plant. It was Britain's first jet bomber. Each of the many marks and variants are described and illustrated by many remarkable and rare photographs. The type's record of service with RAF squadrons throughout its service life is given together with descriptions of the many experimental models that were used in the development of a variety of weapons and avionics systems.

In the 1960s and 1970s, a number of British musicians rediscovered traditional folk ballads, fusing the old melodies with rock, jazz, and blues styles to create a new genre dubbed "electric folk" or "British folk rock." This revival featured groups such as Steeleye Span, Fairport Convention, and Pentangle and individual performers like Shirley & Dolly Collins, and Richard Thompson. While making music in multiple styles, they had one thing in common: they were all based on traditional English song and dance material. These new arrangements of an old repertoire created a unique musical voice within the popular mainstream. After reasonable commercial success, peaking with Steeleye Span's Top 10 album All Around My Hat, Electric Folk disappeared from mainstream notice in the late 1970s, yet performers continue to create today. In Electric Folk: The Changing Face of English Traditional Music, Britta Sweers provides an illuminating history and fascinating analysis of the unique features of the electric folk scene, exploring its musical styles and cultural implications. Drawing on rare historical sources, contemporary music journalism, and first-hand interviews with several of electric folk's most prominent artists, Sweers argues that electric folk is both a result of the American folk revival of the early 1960s and a reaction against the dominance of American pop music abroad. Young British "folk-rockers," such as Richard Thompson and Maddy Prior, turned to traditional musical material as a means of asserting their British cultural identity. Yet, unlike many American and British folk revivalists, they were not as interested in the "purity" of folk ballads as in the music's potential for lively interaction with modern styles, instruments, and media. The book also delves into the impact of the British folk rock movement on mainstream pop, American rock music, and neighboring European countries. Ultimately, Sweers creates a richly detailed portrait of the electric folk scene--as cultural phenomenon, commercial entity, and performance style.