Paisley Heritage

08/04/2025

😍😍😍

We are hosting an exhibition of images of Paisley dating from 1880 to 1910 from the Lang archives. The display will run from Tuesday 8 April to Thursday 1 May in the
Heritage Centre. We are showing a selection of images of Paisley dating from circa 1880 to 1910, developed from a collection of glass plate negatives taken by local businessman and amateur photographer David Young Lang, and developed by his great-great granddaughter Jennifer Lang, a Communication Design and Photography student at Gray's School of Art, Robert Gordon University, Aberdeen.

Address: Studio 907, Abbeymill Business Centre, 12 Seedhill Road, Paisley
Postcode PA1 1JS
Open: Tuesday Wednesday Thursday: 9am - 12.30pm and 1.30pm - 5pm
Tel: 0141 487 3722.

Image description. A photograph from around 1900, a group of people - adults and children, on a wide pavement. They are looking at the work of a pavement artist who is drawing on the ground.

For more info
https://tinyurl.com/38knvdff

08/04/2025

From Renfrew to Ruin: The Rise and Fall of the Lordship of the Isles

The story of Somerled did not end on the battlefield at Renfrew in 1164. Though his body may have fallen near the banks of the Clyde, his legacy lived on for centuries through his descendants, who would go on to shape the political, cultural, and military landscape of western Scotland. What emerged from the embers of Somerled's ambitions was one of the most remarkable and autonomous Gaelic polities in medieval Europe: the Lordship of the Isles.

Stretching from Kintyre and Islay to the Outer Hebrides and parts of the western mainland, the Lordship of the Isles represented a continuation of the Norse-Gaelic maritime tradition that had dominated the western seaboard since Viking times. At its height, it operated as a kingdom in all but name—maintaining its own laws, court, fleet, and culture—while navigating a delicate and often tense relationship with the Scottish Crown.

And while the story of the Isles is often seen through the lens of distant islands and Highland clans, it has firm roots in Renfrewshire—especially in Paisley, where Somerled's defeat marked the turning of a historical tide and where the legacy of his descendants shaped one of Scotland's most important medieval centres. From the battlefield at Renfrew to the cloisters of Paisley Abbey, this story weaves through the heart of the town’s medieval identity.

The Inheritance of Somerled
After Somerled's death at Renfrew—whether in battle or possibly by assassination—his lands were divided among his sons and their descendants. This partitioning created several powerful branches:

▪️ Clan Donald (MacDonalds) – Descendants of Somerled's son Domhnall; they would become the dominant force in the Isles.
▪️ Clan MacDougall – Descended from Dubgall, based mainly in Argyll.
▪️ Clan MacRuari – From the descendants of Ruaidhrí, with holdings in Garmoran and parts of the Outer Hebrides.

Though often divided, these families collectively resisted full Scottish control and maintained substantial autonomy. They sometimes acknowledged the distant overlordship of the Norwegian crown—a legacy of the 1098 Treaty between King Edgar of Scotland and King Magnus Barefoot of Norway—until the Treaty of Perth in 1266 formally transferred the Hebrides to Scotland. Even after the treaty, practical control of the region remained contested for decades.

The Rise of Clan Donald and the Formation of the Lordship
By the 13th and 14th centuries, Clan Donald had consolidated power in the Isles and on the western mainland, gradually eclipsing the other branches of Somerled's lineage. The title "Lord of the Isles" came into formal use during this time.

Notable early Lords included:

▪️ Aonghas Mór (Angus Mor) – A key ally of King Alexander III; though his descendants would later oppose the Scottish Crown.
▪️ John of Islay (Eoin Mac Domhnaill) – Recognised as Lord of the Isles in the mid-14th century, ruling from Finlaggan on Islay, the ceremonial and administrative centre of the Lordship.

The Lords of the Isles held sway over vast territories, collected tribute, led fleets, maintained a private army, and presided over a court of bards, judges, and officials. They were Gaelic warlords, sea-kings, and patrons of a distinct cultural order—operating with a degree of sovereignty unrivalled elsewhere in medieval Scotland.

A Kingdom in All But Name
At its height, the Lordship of the Isles operated with near-complete autonomy:

▪️ Legal System – The Lords upheld Brehon-style law and Gaelic customs, resisting Norman feudalism.
▪️ Fleet and Warfare – They maintained a formidable fleet of birlinns, Norse-style galleys adapted for Gaelic maritime warfare. These allowed swift movement and control across the western seaboard.
▪️ Language and Culture – Gaelic was the language of governance and poetry. Court bards (such as the MacMhuirich family) preserved history, law, and lineage.
▪️ Church Patronage – The Lords supported monasteries and churches across the Isles, continuing the legacy of Somerled and his son Ragnall, who patronised Paisley Abbey—founded by Walter Fitzalan, the first High Steward of Scotland. This intertwined Somerled’s bloodline with the emerging Stewart dynasty rooted in Paisley and Renfrew.
▪️ Trade and Maritime Economy – The Lords controlled key sea routes, levied tolls, and traded extensively—linking with Ireland, the Isle of Man, and possibly Flanders and Iceland. Maritime dominance underpinned their wealth and autonomy.

Their realm extended from Kintyre and Islay to Skye, Mull, Uist, Lewis, and inland to Ross and Morvern. Though technically vassals of the Scottish Crown, they exercised de facto sovereignty within their domain.

Tensions with the Scottish Crown
As the Scottish monarchy—especially under the Stewart dynasty, descended from Walter Fitzalan of Renfrew—consolidated power, the independence of the Isles became a threat.

The Lords' relationship with the Crown fluctuated between cooperation and open defiance:

▪️ In 1386, John of Islay entered into the Treaty of Westminster-Ardtornish with England, proposing to divide Scotland if an English invasion succeeded. In return, he would rule much of the west. The act, though never enacted, was a serious betrayal and deepened mistrust between the Isles and the Crown.
▪️ The Crown responded with increasing pressure—through diplomacy, manipulation, and, at times, open force.
▪️ The Lords also clashed with the Church. They often resisted the authority of the Bishop of the Isles, attempting to control appointments and land—mirroring broader European struggles between secular and ecclesiastical power.

Despite this, the Lordship remained resilient deep into the 15th century, with powerful figures like Donald of Islay and Alexander of Islay resisting royal encroachment.

The Battle of Harlaw: When the Isles Challenged the Kingdom
In 1411, Donald of Islay, asserting a claim to the Earldom of Ross through marriage, marched a massive western host into the northeast—meeting the royalist army near Aberdeen at the Battle of Harlaw.

▪️ Although tactically inconclusive, it was one of the bloodiest battles in Scottish medieval history.
▪️ It represented the cultural chasm between the Gaelic west and feudal Lowlands.
▪️ It demonstrated that the Lords of the Isles had the power to challenge royal succession and disrupt national unity.

The Fall: Forfeiture and the End of an Era
The final blow came during the rule of John MacDonald II (John of Islay), the last recognised Lord of the Isles. In 1462, he repeated his ancestor's mistake by entering into another alliance with England.

▪️ In 1476, James III stripped him of many mainland titles.
▪️ In 1493, James IV formally forfeited the Lordship, bringing the Isles under direct royal control.
▪️ Clan Donald retained some lands but lost political autonomy and noble recognition.

The Lordship’s fall marked not only a political shift, but also the symbolic end of the Norse-Gaelic world that had resisted feudal centralisation for centuries.

Cultural Legacy of the Lords
Though dissolved, the Lordship left behind a rich cultural and historical footprint:

▪️ Gaelic Oral Tradition – Bards and seanchaidhean preserved stories of the Lords’ grandeur for generations.
▪️ Place Names and Ruins – Sites like Finlaggan remain of national significance.
▪️ Clan Donald – Though no longer nobles, their name and legacy endure in Highland identity.
▪️ Paisley Abbey – A monument to the intertwined stories of the Fitzalans, Stewarts, and Somerled’s descendants. It continues to link Renfrewshire to one of the most powerful medieval Gaelic lordships.
▪️ Legal and Documentary Legacy – The Lords issued charters, bore seals, and enacted laws—many surviving in Gaelic and Latin, reflecting their recognised, semi-sovereign status.
▪️ Literary and Artistic Culture – The court of the Isles was a last bastion of Classical Gaelic poetry and music, fostering a culture that endured even as the Lowlands shifted toward Scots and Norman models.

The Lords of the Isles represented the last great flowering of a native Gaelic aristocracy—resisting external cultural, political, and linguistic pressures until their final fall.

Conclusion: From Renfrew to Finlaggan
The Battle of Renfrew in 1164 may have ended Somerled's immediate ambitions, but it did not extinguish his vision. For over three centuries, his descendants ruled the seas and shores of western Scotland, forging a kingdom rooted in Gaelic custom, Norse seamanship, and cultural independence.

Their fall in 1493 marked more than a dynastic loss—it signalled the end of an entire worldview. The Isles were absorbed into a centralised Scottish kingdom, and the ancient maritime networks were broken.

Yet their legacy endures:

▪️ In the stories and surnames that echo through the Highlands and Islands.
▪️ In the ruins of Finlaggan and the pages of Gaelic poetry.
▪️ And here in Paisley, where Fitzalan’s abbey still stands and the echoes of a clash between old Gaelic power and rising Norman rule are woven into the town’s medieval roots.

From Renfrew to Finlaggan, the Lords of the Isles left behind more than history—they left a heritage.

07/04/2025

The High Street in Paisley, viewed from the Town Hall and looking northwest, circa 1925. The scene captures a bustling moment with pedestrians, horse-drawn carts, and early motor vehicles. Notable establishments include the 'Electricity Show Rooms' and 'The Templars Rest.' The taller building on the far right housed the Glen Cinema, though its entrance was on Gilmour Street. Many buildings in this area were later removed to widen the street and create the New Cross. Today, a commemorative plaque marks the site of the tragic 1929 disaster.

07/04/2025

Any tiktok experts out there wishing to join the team? 😊

07/04/2025

06/04/2025

Some pictures I took today while I was in the West End.

Thanks to Skirlies Cafe for my lovely Nutella and caramel empire biscuit! 😋

Thank you

Rachael

06/04/2025

Update on events

06/04/2025

🌟⭐️🤩

06/04/2025

Wonderfully colourful photo of buses and trams at the Cross in 1956.

05/04/2025

Paisley Festival, 1975.

05/04/2025

Stunning shot of Paisley West End, looking towards the John Neilson Institution, taken in January 1987.

Photo by Stephen Mansfield.

04/04/2025

Some pictures I took in the sunshine today.

I don’t know if David Williams who I bumped in to today follows the page. If so, it was lovely to meet you 🙂

Thank you

Rachael

04/04/2025

Purcell James Mansfield: A Musical Legacy in Paisley and Beyond

Paisley has long been a centre of cultural and musical excellence, and among the figures who contributed significantly to its rich tradition was Purcell James Mansfield (1889–1968). A distinguished organist, choirmaster, composer, teacher, and adjudicator, Mansfield played a key role in shaping church music in Paisley Abbey and beyond. His contributions to music education, performance, and composition left an enduring legacy in Scottish church music.

Early Life and Musical Beginnings

Purcell James Mansfield was born on 24th May 1889 in Torquay, Devon, to Orlando Augustine Mansfield, a well-respected musician, and Louise Christine Jutz, originally from Geneva, Switzerland. Growing up in a musically gifted household, Mansfield was immersed in the world of music from an early age. It was evident that he would follow in his parents’ footsteps, and his prodigious talent quickly became apparent.

At the remarkably young age of 14, Mansfield was admitted to the University of Durham, a significant achievement that reflected his extraordinary musical abilities. By the age of 16, he had already secured positions as Organist and Choirmaster at Wesleyan Churches in Paignton and later Bideford, Devon. These early experiences helped him develop the skills he would later apply on a much larger scale in Scotland.

His early musical career was further highlighted by his success in Eisteddfod competitions, particularly at the Bristol Eisteddfod, where he won multiple prizes. These achievements set the stage for his future career as a musician of national significance.

In 1910, Mansfield moved to Scotland to accept the position of organist at Park Parish Church, Glasgow. His career was soon interrupted by World War I, when he served in the 10th Argyll and Sutherland Highlanders.

Paisley Abbey: A Landmark Appointment

After returning from military service, Mansfield was appointed organist and choirmaster at Paisley Abbey in 1919. This role would become one of the most important of his career, as Paisley Abbey was already renowned for its choral tradition and musical excellence. Under Mansfield’s leadership, the Abbey continued to flourish, and he worked tirelessly to elevate its musical standing even further.

His duties extended beyond simply playing the organ. As choirmaster, he was responsible for training the Abbey choir, refining its vocal quality, and ensuring that its performances met the highest standards. He also introduced new choral works, arranged music for services, and continued the Abbey’s long-standing tradition of liturgical excellence through music.

During this period, Mansfield also served as Singing Master at the John Neilson Institute and Organist and Choirmaster at the Clark Town Hall, indicating the extent of his influence on Paisley’s musical culture. His presence in the town was not only felt within the Abbey but also in music education and public performances.

Later Career in Glasgow

In 1923, Mansfield moved on from Paisley Abbey to become organist and choirmaster at Pollokshields Parish Church in Glasgow. Later, he also took up the same position at Hyndland Parish Church. Though he had left Paisley, his contributions to the town’s musical landscape remained a part of its history.

Now living in Mosspark, Glasgow, he continued his work as a teacher, composer, adjudicator, and recitalist. His home in Mosspark Oval provided a scenic setting, overlooking Bellahouston Park, and from there, he composed and arranged numerous musical works, including concert overtures, choral pieces, and over 60 organ compositions.

Beyond his church work, Mansfield became a respected adjudicator, examiner, and music educator, shaping the next generation of church musicians across Scotland.

Musical Works and Compositions

Purcell James Mansfield was a prolific composer, and his body of work reflects his deep understanding of organ and choral music. Among his most notable compositions are:

"An Evening Meditation," Op.16 – A reflective piece for mixed chorus.

"Carillon. In the style of a Toccata," Op.99 – An organ work featuring dynamic rhythms.

"Concert Scherzo," Op.20 – A lively and expressive composition.

"Pastorale fantastique," Op.5 – A piece with a pastoral theme, showcasing lyrical beauty.

"Scherzo-Caprice," Op.94 – A whimsical, technically demanding work.

"Wedding Processional," Op.150 – A ceremonial piece for wedding services.

Mansfield also contributed as an arranger and editor, producing works such as:

"Album of Organ Pieces" – A collection of organ compositions.

"6 Metrical Psalm Tunes," Op.91 – A set of psalm settings reflecting his expertise in sacred music.

His influence extended beyond his own compositions, as he worked as an editor and arranger of various pieces, helping to make classical and sacred music more accessible to musicians of his time.

His contributions have been archived in hymnological databases such as Hymnary.org and IMSLP, where his compositions remain available to modern musicians.

Personal Life and Family

Mansfield’s personal life was marked by both great joy and deep tragedy. In 1916, he married Marie Campbell, but their happiness was short-lived. In 1919, shortly after the birth of their son Cedric Orlando, Marie passed away, likely a victim of the Spanish flu pandemic.

That same year, Mansfield took up his position at Paisley Abbey, balancing his grief with his commitment to music.

In 1920, he remarried Jessie Campbell, Marie’s sister. They had a daughter, Sylvia, in 1922, but tragedy struck again when Jessie died at an early age. Despite these hardships, Mansfield remained devoted to his work, music, and family.

Later in life, he married Jean Walker, a member of his choir and a fellow musician whose brother was also a church organist. This union provided him with stability in his later years, allowing him to continue his work as a teacher, composer, and adjudicator until the end of his life.

Legacy and Influence

Purcell James Mansfield remained an active musician until his passing on 24th September 1968. His career spanned decades, during which he played a crucial role in shaping Scottish church music.

His time at Paisley Abbey was a particularly significant period of his career. As an organist, teacher, and composer, he contributed to the Abbey’s enduring reputation as a centre of musical excellence. His influence extended to Glasgow, where his teaching, composition, and adjudication helped shape the future of church music in Scotland.

Though his name may not be widely known today, his contributions live on through his compositions, his influence on choir training and organ music, and the memories of those who studied under him.

His works remain accessible in online music archives, ensuring that his music continues to inspire new generations of musicians.

Conclusion

Purcell James Mansfield was not just an organist—he was a pioneer of church music, a dedicated teacher, and a composer whose influence extended far beyond Paisley Abbey. His work enriched Scotland’s musical traditions, and his compositions continue to be appreciated by organists and choirs.

For those interested in Paisley’s history, his story is a testament to the enduring power of music in shaping a community’s identity. His legacy remains a vital part of Paisley Abbey’s musical heritage, ensuring that his contributions are remembered for generations to come.

Bibliography
Shorchor, William. Purcell James Mansfield Biography. Shorchor Music, 2023.

IMSLP – International Music Score Library Project. Works by Purcell James Mansfield.

Hymnary.org. Mansfield, Purcell James.

London Music Press. Purcell J. Mansfield – Composer Page.

The Biographical Dictionary of the Organ. Paisley Abbey Organists – Purcell James Mansfield.

03/04/2025

👇👇👇

03/04/2025

❤️❤️

03/04/2025

Joe McGlynn and the Punk Revolution at Paisley's Bungalow Bar

In the late 1970s and early 1980s, amidst the socio-economic turbulence of post-industrial Scotland, the town of Paisley emerged as an unexpected epicentre of the punk movement. Central to this cultural upheaval was The Bungalow Bar on Renfrew Road—a modest venue that became a sanctuary for raw, unfiltered musical expression. At the heart of this scene was Joe McGlynn, frontman of Defiant Pose, whose dual role as performer and barman encapsulated the DIY ethos of the era.

The Bungalow Bar: From Humble Pub to Punk Haven

Originally a traditional working-class pub, The Bungalow Bar underwent a significant transformation in the late 1970s. This evolution was largely driven by local promoters who recognised the punk movement's need for spaces to perform. Glasgow's tougher stance on punk gigs opened the door for Paisley, and The Bungalow quickly became a hub for the genre. The venue hosted both local and touring acts, including The Skids, The Associates, Paul Young with Q-Tips, Josef K, Orange Juice, and The Revillos. The energy and atmosphere were electric—sweaty, packed, and full of rebellion.

Defiant Pose and Joe McGlynn: Embodying Punk's Spirit

Amidst this vibrant scene, Defiant Pose became legendary for their confrontational style and unapologetic lyrics. Initially a five-piece outfit covering bands like The Undertones and Alternative TV, they evolved into a trio with McGlynn (guitar/vocals), Crawfy (bass), and Callum Reid (drums). Their music channelled the frustrations of the youth, railing against political disillusionment and societal constraints.

Joe McGlynn's role wasn't confined to the stage. Working behind the bar at The Bungalow, he was both performer and punter, a living embodiment of punk's breakdown of barriers. Loudon Temple's 1980 photograph of McGlynn pulling pints among a collage of gig posters immortalises this spirit—a living archive of Paisley's punk pulse.

Groucho Marxist Records and the 'Ha! Ha! Funny Polis' EP

The DIY ethos found further expression in Groucho Marxist Records, founded by Tommy Kayes. The label gave Paisley bands the chance to press their own records and be heard beyond the local scene. One iconic release was 1981's Ha! Ha! Funny Polis EP, featuring Defiant Pose, XS Discharge, Urban Enemies, and The Fegs. Subtitled "Four songs about the local polis and other forms of nastiness," it captured the combative relationship between the punk community and local authorities. Chief Superintendent George Mutch publicly condemned the EP, only boosting its notoriety.

Fanzines and the Written Voice of Punk

Fanzines were the glue of the scene, self-published and fiercely independent. They reviewed gigs, dissected politics, and shouted back at the system. Notable Paisley contributions included It Ticked & Exploded, a brilliant reflection of the time, followed by Ferocious Apache in 1983. These zines documented not only the music but the DIY ethics and raw commentary that punk thrived on.

The Role of Women in the Scene

While Paisley's scene, like many others, was male-dominated, women still played vital roles—as fans, organisers, and contributors to fanzines and the community. Though The Fegs didn't include female members (Joe McGlynn was in that band too, alongside Paul McGuiness, Eddy Cochrane, and Joe's brother Kenny), many women were key players behind the scenes and in the crowd.

Authority and Rebellion: The Punk/Police Dynamic

The punk scene's defiant streak often brought it into direct conflict with the police. Gigs were broken up, shows scrutinised, and punks harassed—all part of a nationwide trend of mistrust and hostility. In Paisley, these tensions only fuelled the movement's fire, reinforcing punk's anti-authoritarian message.

Legacy and Evolution

The original Bungalow Bar shut in the early 1980s, but its impact remains. A new incarnation opened in Shuttle Street in 2008, carrying forward the legacy of live music and community. Events like the Ferguslie Park Festival in 1979 highlighted how deeply intertwined music and activism had become in the town.

The image of Joe McGlynn behind the bar stands as more than nostalgia—it's a testament to a scene that fused music, politics, and everyday life. The Bungalow wasn't just a venue. It was a movement.

Bibliography

Temple, Loudon. Photographic Archive, 1980. Photograph of Joe McGlynn behind the bar at The Bungalow, Paisley.

Kayes, Tommy. Groucho Marxist Records Archive. Includes production notes and liner details for the Ha! Ha! Funny Polis EP (1981).

Ha! Ha! Funny Polis EP. Groucho Marxist Records, 1981. Featuring Defiant Pose, XS Discharge, Urban Enemies, and The Fegs.

Defiant Pose: Punk in Paisley, independent documentary interviews and gig flyers, 1979–1982 (unpublished zine archive, contributors anonymous).

The Bungalow Bar Gig Posters Collection, Local Music Archives, Renfrewshire.

Renfrewshire Council Archives. Ferguslie Park Festival Records, 1979.

Mutch, George. Public statement on punk music and the Ha! Ha! Funny Polis EP. Cited in local press, 1981.

Scottish Punk Fanzines Collection (various titles), 1977–1984. National Library of Scotland / Private Collectors.

Paisley Punk: The Sound of Rebellion, in Scots Music Monthly, Issue 41, 2018.