Diageo’s experimental Whiskey Union concept is fundamental to the group’s Scotch growth strategy.
From the Editors
Shorts from our editorial team
13 November 2015
What exactly is the most ‘unorthodox and weird’ thing about Diageo’s new Whiskey Union range?
Could it be the seemingly whimsical way these whiskies have been assembled and launched? It took the group just six months to create the concept – an unusually brief period considering most NPDs are on the table for two years before they come to fruition.
Or is it the fact that Diageo has in the past insisted Bourbon is not taking market share from Scotch, but its Smoky Goat is now strategically placed to appeal to Bourbon drinkers with its ‘sweet’ flavour profile and deliberately competitive price point? It’s a strategy that Diageo is not alone in following.
The Mobsprey: the new face of Scotch whisky?
Perhaps it’s Huxley's bizarre description as a ‘rare genus whiskey’, which is not only spelled rather confusingly with an ‘e’ when it contains multiple types of whiskies, it’s also such a bewildering term that even Wikipedia’s definition is dizzying to follow.
Furthermore, instead of taking its branding cues from a particular region’s geography, heritage or weather, Huxley is more aligned with a macabre Victorian fascination in taxidermy, featuring a nightmarish chimera of a moose, bobcat and osprey, named Mobsprey, on its label. Is Diageo developing a morbid side?
Meanwhile, adding hops to a whisky mash is not necessarily a brand new concept – several independent distilleries in Canada and America have been experimenting for at least a decade (see Charbray, Sons of Liberty, Corsair and JP Wiser’s) – but never before has there been a hopped ‘Scotch’ in the form of Boxing Hares (admit it, ‘hopped Scotch’ has a certain ring to it, even if it moves the SWA to pull out its rulebook and wagging finger as it’s technically incorrect).
The entire concept is so far outside Diageo’s comfort zone that it’s unorthodox by its very nature. The world’s biggest drinks group launching a new product, let alone three, before it’s been properly tested and considered? Blow me down.
The drinks industry is well aware that most new product developments (NPDs) are doomed to fail, but for the first time, a large drinks group is openly admitting it expects that. Is this transparency a way for Diageo to appeal to Joe public who has lost faith in sinister large corporations?
Bourbon, beer and hipster: Covering all consumer trends with Whiskey Union.
A more cynical person than myself might suggest Whiskey Union smacks of desperation to claw back declining sales for Diageo’s Scotch category by covering all current trend bases in one swoop. It’s become a case of chasing consumer spend rather than investing in doing Scotch better.
Craft products? Check. Millennials targeted? Check. Transparency? Check. Combatting interest in Bourbon and beer? Check. Enticing new entrants to the category? Oh yes.
But on the other hand, Diageo is addressing a factor that has long been missing from Scotch whisky but is present in every other major brown spirits category – fun. Aside from William Grant’s Monkey Shoulder, which other Scotch brands meet the needs of the younger consumer who’s out to party?
It’s all very well having an aspirational brand such as Johnnie Walker or Buchanan’s as an entry level Scotch, but where is Diageo’s answer to Jack Daniel’s or spiced rum, that party spirit that can be mixed with coke without stigma attached? Diageo may be driving Smoky Goat on the rocks, but its sweet and smoky flavour profile is perfectly suited to cola, while its cheeky, quirky personality positions it nicely as a trendy, fun serve.
Ultimately, the most unusual thing about Whiskey Union is that with it Diageo is finally addressing a gap in the market that its prior preoccupation with tradition and heritage in Scotch whisky blinded it to.
12 November 2015
On a book promo trip to the US recently I, amazingly, had some free time in Washington DC, so my wonderful minder Liz recommended we head to the Freer Museum to see Whistler’s Peacock Room.
Charles Freer, for those of you who don’t already know, was an American who made his fortune building railway cars (or, I suspect, getting other people to do so) and who then invested heavily in Asian art, eventually donating his collection to the nation and building a museum in which it could be housed. A good guy.
The Peacock Room is the museum’s big draw. It was commissioned in 1876 by the Liverpool shipping magnate Frederick Leyland as a dining room in which he could display his collection of blue-and-white Chinese porcelain.
Leyland, who had already commissioned Whistler to paint portraits of his family, hired the artist to decorate the room – and then went away on business. Fatal mistake.
In his patron’s absence, Whistler created an opulent chamber in blue, green and gold. It’s gilded, the ceiling is made of oxidised brass, every surface is patterned, the shutters carry pictures of golden peacocks.
The artist then presented Leyland with a bill for 2,000 guineas (about £50,000 in today’s money). Leyland baulked at the sum, paid £1,000 and bankrupted Whistler.
Before the bankruptcy hearing, Whistler finished the room with a painting of two peacocks: one aggressive, the other wounded. Silver coins litter the ground. He called it Art and Money. The Story of the Room.
In 1904, Freer, another of Whistler’s patrons, bought the room, and installed it in his home in Detroit to display his collection of ceramics, which is what we see in the museum today.
Opulent: Whistler's Peacock Room (Photo: Freer Gallery of Art)
It’s wider-ranging than Leyland’s, more subtle and thoughtfully assembled. It’s a proper collection, juxtaposing large and small, humble and grand – the pieces chosen not just for beauty, but for the tone of their glaze, their flaws.
The room makes more sense with the Freer ceramics. Freer got Whistler, he got Asian art. Leyland, you feel, didn’t. He acquired and displayed.
The room is extraordinary – a remarkable achievement – but eventually becomes claustrophobic, so I headed to an exhibit of artworks by the 17th-century Chinese artist Bada Shanren – prince, Zen monk, artist and, some say, madman. My kind of guy.
The pieces were simple, almost abstract, filled with allusion, their often huge blank spaces as important as what was filled in.
I mused, as one should in a museum, about how little has changed. Rich collectors are still asking the same of artists – except it’s now ‘give me something to go with the sofa’.
Names are more important than quality, the pieces no more than eye candy. Whistler’s analogy of the peacocks still holds true.
The Peacock Room had seemed strangely familiar. Now I knew why – it was like a bar with the ceramics as bottles. Leyland’s collection was the type of bar where all the bottles are behind glass, Freer’s chosen because of the pleasure they gave.
Woe betide us if whisky ever gets into the situation where it is only the rich who can commission bottles and the producers (the artisans) oblige. Could it happen? It already is.
I then thought of how I still preferred the space of the paintings, the room to breathe, contemplate and enjoy, away from the clutter, noise and the sounds of peacocks squabbling.
That holds true for whisky as well.
06 November 2015
‘It was a bad score. He only gave it 6+.’ This was a post by someone on a blog regarding my scores for the recent Balvenie DCS whiskies.
I knew it would happen. It’s the trouble with scores – they trip you up. They are also so all-pervasive that we are beginning to organise our lives around them without perhaps realising what they signify.
Only once that filtering system has taken place do any of us bother to then read the words. I’m as bad as anyone. Get Mojo and Uncut, scan the scores and then read. Who has the disposable income to take a punt on a three-star album?
If, however, we take the time to read first, then a more accurate picture emerges. That restaurant/hotel has lost a couple of stars because there’s someone lurking in the comments section who clearly has a grudge.
‘They didn’t make my child a pizza.’
‘We went to this sushi restaurant, but my partner doesn’t like fish.’
‘The view of Torquay from my hotel bedroom window wasn’t good enough.’
I even read one review of the Lofoten Islands which advised people not to go because the midnight sun didn’t perform a perfect V in the sky. Result? The score went down.
And so back to our own scoring system. It was peer pressure which made us impose one in the first place – everyone else scores so we should as well. We might not like the reductive nature of scores, but it’s now the norm.
We have, however, decided to use a proper 10-point scale: ie one that starts at zero and goes up to 10. The scale is outlined on our Tasting Notes Explained page, to which each note is linked – but does everyone read it? Of course not, because we understand the nature of numbers.
Or so we think.
There are some 10-point scales which start at 6. They then can be broken down into decimal points, making a 40-point scale. There are 100-point scales which only start at 80, which makes them 20-point scales.
Equally, there are no 20-point scales which start at zero – most people who use them start them at 10 and then get around that issue by giving half-points, creating a warped 20-point scale.
Still with me?
Lies, damned lies...: Scoring systems can be fiendishly complicated
So, we said ‘enough of this’, and started at nought and moved up in decimal points to 10, which I suppose makes this both a 10-point and a 100-point scale. Then again, it is possible for a whisky to score zero (and, indeed, 10.0), making it technically a 101-point scale. Never say we don’t give you better value at Scotchwhisky.com.
As I said, we knew the questions would come. Our 6 is another’s 7.9, someone’s 3 stars, another’s 15, someone else’s 80. No wonder people are confused.
Why then, you might ask, are we further muddying the waters? Because if we have to use bloody numbers, then we felt we should use them properly.
If you are judging from 0-10 and a whisky is average in quality, then it should logically be given 5 points. If it’s above average, then it gets 6. Seems sensible? Good. So 6 is not a bad score, it means this is a good dram, one that we’d be happy to buy.
I appreciate that there will be teething problems as people get used to the new scoring system. The solution to this potential confusion is to READ THE WORDS. They give the reasons for the score.
Now… what’s on the tasting table this week?
03 November 2015
The spirit of old East Berlin had clearly possessed me. The audience looked… confused. That isn’t all that unusual. My talks are planned in terms of overall theme, what needs to be said, what drinks will help support this framework (and stop people getting too bored), but quite how I get from A to Z is… well… fluid, which seems appropriate.
This particular one at Berlin Bar Convent was on a history of gin in seven drinks, each one a waypoint in the spirit’s evolution. I was extemporising on genever’s success from the 17th century onwards, and how it had come about directly as a result of pressure on distillers to make a non-wine-based spirit for the local bourgeoisie, whose supplies of wine and brandy had been cut off thanks to the Eighty Years’ War.
‘Actually,’ I continued, ‘gin’s story is one of class warfare.’ This is when the faces began to look puzzled.
I plunged on regardless, outlining a theory (which was forming in my head as I spoke) that, whenever gin was the drink of the proletariat (judging by the faces, a term not heard in East Berlin since 1989), it had a toxic reputation.
Only when it became acceptable to the middle classes, acquired bourgeois acceptability, if you like, would it become popular. The spirit’s history and popularity swings between these two poles.
I stand by this theory, by the way – Gin Craze? Working class. Old Tom? Working class. London Dry? Middle class. Martini and G&T? Middle class.
Gin Lane: the craze immortalised by Hogarth was a working-class phenomenon
There’s even a class element with regard to gin’s collapse in the 1980s, when it was identified as being stuffy, boring, old-fashioned – and irredeemably middle class, the drink of ladies of a certain age, and chaps who wore pink trousers on the weekend. Its current renaissance has been driven by a widening of its appeal to all-new, younger, drinkers.
Could Scotch whisky’s story be told in a similar way? I don’t think so. Yes, Scotch’s initial boost came when toddies, then whisky and soda became acceptably middle-class drinks in London, but the difference between Scotch and gin was that the former always transcended class boundaries.
When growing up, I could go into the Rogano (Glasgow’s great classic bar) and see someone having a dram. I could go across the road to the Horseshoe and see a working class guy having the same.
I would see the G&Ts and Martinis being drunk at the former, but never at the latter. Scotch’s long-term success was based on its ability to appeal to all classes. Its decline in the ‘80s wasn’t driven by class, but by a lack of fashionability.
It has been this appeal to a wider demographic internationally which has been one of Scotch whisky’s greatest assets. It was aspirational at all levels – a standard blend was as much of a treat for the working-class drinker as a deluxe whisky was for the rich.
That is why the current narrowing of focus by many firms is so worrying. Scotch is not just a drink for the elite, for speculators, for ‘celebrities’, it has succeeded because it is the people’s spirit.
Concentrating on one stratum of society is ultimately counter-productive. Just look at gin.
29 October 2015
It used to happen every month, then every fortnight. Soon it was every week. Now it seems like it is every day that the topic of No Age Statement (NAS) whiskies inveigles its way into conversation. I’m fully expecting my wonderful and long-suffering postie, Rose, to stand on the doorstep tomorrow and say: ‘Dave, what is it with all these NAS whiskies?’
My line has remained the same. Nothing inherently wrong, difference between age and maturity, allows whisky makers a freer rein, necessity at time of stock squeeze/excessive demand.
With one caveat: as long as the whiskies replacing (or accompanying) the existing age statement expressions are as good as or better than the products they are replacing/joining, and that producers educate consumers and trade as to what their rationale is.
An integral part of that education, I’d argue, is being transparent. It’s not just a matter of what’s going on, but what’s going in. After all, what’s to hide? If the whiskies being used include young and old, then why not tell us the age and the cask type?
That then opens out the (much needed) discussion of the difference between age (a number) and maturity (a character).
It allows distillers to talk about wood programmes and cask influence, it demonstrates the fundamentals of blending.
It explains whisky to a consumer who wants to have whisky explained. It helps detoxify the debate.
Now it would appear that telling consumers everything about what is in a bottle is, in fact, illegal. The latest disagreement between the Scotch Whisky Association (SWA) and Compass Box (it’s never the other way around) is surely the most ridiculous one yet.
Transparency: but the openness of John Glaser and Compass Box is also illegal
The SWA does sterling work and, in this case, all it has done is to act on behalf of one of its members (though wouldn’t you love to know who complained, and why?). In addition, its hands appear to be tied thanks to an EU law originally drafted in 1989.
The SWA is following the letter of the law, and all the firm that complained is doing is hiding behind the SWA.
The question here is twofold. Can the law be changed? Is there a willingness on the part of the SWA (or its members) to push for that change in the law? I’m no Edinburgh lawyer, but I seem to recall that only a few years ago the SWA did just that, around labelling.
The reason? The old descriptors were confusing to the consumer. They were, in other words, lacking in clarity, and so the law was changed. Saying: ‘I know it’s wrong, but I’m afraid it’s the law,’ is not a credible defence.
It might be that derogation from EU law is more problematic than changing a UK law which then becomes EU law. Derogation, however, means ‘an exemption from or relaxing of [my italics] a rule or law’.
Is there then a possibility that this clause can be relaxed to permit the option of an open declaration of the composition of a blended product in the case of Scotch whisky? The SWA is a lobbying organisation. Is this worth lobbying for?
If one of the body’s members asked for this possibility to be explored, would the SWA act? History has shown that if there is sufficient demand from its members for change the SWA can change.
So here’s a question. Which of the members of the SWA doesn’t agree with there being an option to declare fully the make-up of an NAS whisky – and why?
26 October 2015
In the Scotch whisky calendar, it must rank as one of the most eagerly awaited launches of the year. What will be released? From which regions and distilleries? How old? And – for many, most crucially of all – how much will they cost?
Given all of this, I was taken aback to find, on arriving at the unveiling of these much-anticipated limited editions, no velvet rope, no fanfare and no impatient throng through which it was necessary to elbow my way. In fact, nobody else seemed interested at all.
There stood the whiskies in front of me. All five of them. Yes, five. No, not nine.
Other writers were there too, but they seemed more interested in catching up with Charlie Pillitteri to talk about his (admittedly fabulous) Canadian icewine. Someone’s tasting the whiskies? How odd…
By now, you might have realised that I’m not talking about Brora, Port Ellen, Pittyvaich and Diageo’s 2015 Special Releases, but three blends called Glenalba and two single malts with the distinctly unglamorous name of Ben Bracken.
Five limited availability whiskies unveiled at discount retailer Lidl’s Christmas tasting. Ranging in age from 22 to 34 years, and in price from £29.99 to £49.99.
Don’t look at me like that. When Lidl released the 33-year-old ‘Maxwell’ single malt three years ago at a headline-grabbing price of £39.99, it sold out within three days – and secured the retailer a priceless tide of positive publicity.
Trade drivers: but do Lidl's cut-price whiskies have a bigger role to play?
The contrast in pricing between Lidl’s whiskies and the Special Releases is glaring: at £49.99, the 34-year-old Glenalba blend and the 28-year-old Ben Bracken Speyside malt are still some £30 shy of the cheapest Special Release, a Lagavulin 12-year-old.
But the point of the comparison isn’t to have a pop at Diageo’s Special Releases pricing strategy – on which I’m sure we all have our own views anyway.
Because, let’s be clear, the motivation behind the two launches is entirely different: Diageo showcasing the depth and excellence of its aged whisky stocks through the medium of established brands, Lidl using own-label products to lure shoppers away from Asda to buy their turkey, cake and crackers there instead.
Is that the overriding point of the Lidl whiskies? To encourage and perpetuate the ‘discount junkie’ mentality among consumers, which – at Christmas in particular – does so much to erode margins for the whisky industry?
Yes and no. Talk to Lidl head of beers, wines and spirits Ben Hulme and you’ll also get a sense of the pride he takes in sourcing these whiskies at such remarkable prices.
They’re not loss-leaders, he insists, and while the publicity surrounding them will no doubt draw the punters to the stores, he hopes it will also elevate Lidl’s reputation for quality, once people taste the whiskies.
They’re also, I’d argue, potentially great recruitment tools to persuade people to expand their whisky repertoire, and – ironically, given the Lidl pricing ethos – to get them to trade up.
Today’s Ben Bracken consumer may not be tomorrow’s Port Ellen or Brora collector, but that’s not to say they might not be tempted by a realistically priced unpeated Caol Ila or Lagavulin 12-year-old.
Because value exists at all levels – from the keenly-priced aisles of Lidl to the sometimes rarefied reaches of the Special Releases.
22 October 2015
Maybe it has something to do with hotels. In the excellent book The Beechwood Airship Interviews, Nicky Wire of the Manic Street Preachers tells author Dan Richards how he likes to write in hotels because they are neutral spaces with none of the distractions of home life. Not even a kettle (Stop it with the kettles – Ed).
Wire’s theory certainly seemed to be proven when I made my way down to the lobby of the hip place in which I stayed recently. There in the gloom – gloom is so 2015 – was an ocean of floating white apples.
Death pallor faces. Grey light chiaroscuro. The ticking of nails on keys. Peck, pick, gaze downwards. The regular hiss of the espresso machine. In the café, the same scene was repeated. Silence. Gloom. Pick. Peck.
It wasn’t just there, it’s everywhere. Every social space has been taken over by screen zombies. The only faint flicker of a smile appears when they come across an image of a cute kitten. Where, I wondered, has happiness gone? Where is the joy?
What, even, is joy? The dictionary defines it as ‘a feeling of great pleasure and happiness’. In whisky terms, joy for me is the feeling of tasting the dram which signifies the end of work.
It might be in a bar or pub, it could be at home, it might be neat, with water, or in a highball. Joy is in the combination of liquid and moment and psychological state. Joy is being human. In this case, it is about gaining pleasure from whisky.
Here’s the question, though. These days, are you allowed to say that having a drink makes you happy? I suspect not. Happiness infers that the drink has altered your state. Saying whisky makes you happy contravenes a code, written or unwritten.
How much further?: in modern life, joy is a precious – and rare – commodity
A general – but also deliberately detached – sense of joy is possibly as close as you are allowed to go towards happiness before the lawyers come and get you. In this world, the liquid doesn’t provide the joy – some abstract notion about a brand does.
That’s not a criticism. I’m, er, joyful that there is someone out there trying to get round the restrictions and say, in a subtle way, that whisky can make you smile.
The question is, looking at the screen zombies, where is the joy? It’s not in front of you. It’s in the streets, it’s in company, it’s in the Apple-free irises of other people, it is in conversing and sharing.
The irony that you will be reading this on a screen is not lost on me, by the way. Walk away, switch off. Go outside, even if it is raining, and breathe.
Pour yourself a dram. Better still, pour whoever is next to you one as well. Whisky – taken in moderation – makes you happy. If we can’t say that in advertising, we have to find new ways of communicating that message. Maybe talking might help?
21 October 2015
Great Scott! Bust out those self-tying sneakers, hop onto your hoverboard and switch on some Frankie Goes to Hollywood, for today is Back to the Future Day.
Yes, we have finally arrived at the date in time Marty McFly and Doc Brown broke through the space-time continuum to in their Delorean, in the smash-hit 1989 film sequel.
The day Marty McFly travels back to the future is now a reality.
For our favourite time travellers 21 October 2015 was a fantastical world apart from the familiar shoulder pads and big hair of the 1980s, though director Robert Zemeckis did accurately predict several innovations.
Hoverboards are now scarily real, as is 3D cinema and video chat. Heck, Zemeckis even predicted the invention of the Google Glass.
Certainly technology has evolved in the last 26 years, as has the Scotch whisky industry, which rose from the ashes of a crash in the 1980s to export 1.19bn bottles a year all over the world.
Even distilleries have implemented new technologies that have streamlined production, yielding more liquid faster than ever before, while biomass plants that convert waste product into energy are now par the course.
In celebration of Back to the Future Day here’s a look back at some of the highlights occurring in Scotch whisky in 1989.
'Hey McFly you Bojo! Those boards don't work on water!'
Ben Nevis. In 1989, Long John International – the whisky arm of brewer Whitbread – sold Ben Nevis distillery to Japanese distiller Nikka, a long-term customer of the business.
Lagavulin. The now iconic Lagavulin 16 Year Old joined Diageo’s Classic Malts portfolio in 1989.
Bowmore. Japanese drinks group Suntory bought a stake in Islay distillery, Bowmore, in 1989, going onto acquire the site fully in 1994.
Glentauchers. United Distillers sold the mothballed distillery to rival Allied Distillers (later purchased by Pernod Richard) in 1989 and became a named component of Ballantine’s.
Imperial. The mothballed distillery is sold to Allied Distillers in 1989 but not reopened for another two years. Eventually the site was demolished to make way for Chivas Brothers’ gleaming new Dalmunach plant.
Glenrothes. While much of the whisky industry was struggling under a fall in demand, Glenrothes swam against the tide of closures and increased its distillery capacity with the installation of two new stills, bringing its total to 10.
15 October 2015
The guitar on the wall was unnecessary. It’s not that I want to moan. Perhaps it’s because I spend a considerable part of my life in hotels that I’ve become (over-)sensitive to their design.
Take the other weekend. Between Friday and Monday I was residing in an achingly hip one in Shoreditch, where my room was stuffed with suitably ironic touches. A pencil sharpener attached to the wall? Yes, of course I used it.
It has to be said that the room was rather lovely and tried to make you feel as if you were, if not at home, then a guest at someone else’s, perhaps the new hipster mate you ran into at Callooh Callay the night before and who had offered you a bed when you realised you'd missed the last train home (does that sort of thing still happen?).
Anyway, I felt comfortable – which is what hotels are about. Apart from the guitar, perhaps.
I mean, the last thing you want in a hotel is everyone serenading themselves, or trying to impress their partner with Smoke on the Water or, even worse, seeing that guitar as a symbol of their inadequacy.
‘Oh, can you play?’
‘Er... well… no.’
End of budding relationship.
Still, there was a kettle. I need a kettle. I get grumpy without my tea (and I mean my tea). It also had an iron. I get grumpy if there isn’t one of those either. Iron over guitar every time. Kettle over iron. It’s the way I roll.
The guitar was an example of how hotel designers over-think rooms. There was the central London hotel which had an electric guitar – and amp – in the room (double inadequacy, double irritation as Smoke on the Water echoes from 50 bedrooms).
There was, however, no kettle. Or iron, come to think of it. Maybe the thinking was that no-one who plays an electric guitar would ever need to have a pressed shirt… or a hot drink. I’m sure Robert Fripp would.
There was another east London establishment which had a hot water bottle on the bed. A lovely, quirky thought that made me feel all fuzzy.
There was, however, no kettle, meaning the only way you could try and force hot water into the bottle was via the espresso machine in the corridor.
Of course there was an espresso machine in the corridor! Hipsters don’t drink tea. The result was that I was insanely grumpy.
Impeccably turned-out: the neatly ironed Mr Fripp (Photo: Sean Coon)
Over-thinking might not be the worst aspect of modern life, but it is symptomatic of the way in which ‘irony’ (which in this case is, for once, truly ironic as there are so few irons) has replaced any form of deeper thinking.
The surface is all, the instant, unthinking reaction is all that matters. There is no need to sit down and make a cup of tea and think. All that matters is the sheen, the glance, the smirk, then you move on.
Design has got in the way of function and the core essence of the room – a place to rest – is forgotten or overlooked. Such is it with brands.
Maybe I’m just an awkward customer. Perhaps I just need to get out less.
14 October 2015
It sounds like just the sort of thing to get the Scotch Whisky Association (SWA) lawyers firing up their laptops and composing a series of increasingly threatening ‘cease and desist’ missives.
An American whisky, produced in Virginia, but claiming to be a ‘Scottish-style’ single malt? Ok, the barley was malted in Scotland and the casks were re-coopered on Speyside, but half of it was only distilled once, for heaven’s sake.
As it happens, the SWA isn’t merely sanguine about the creation of the two bottlings made at the George Washington distillery in Mount Vernon – it’s directly complicit in it.
Joining forces with American spirits industry body DISCUS, the SWA flew three Scotch luminaries – Glenmorangie’s Bill Lumsden, Cardhu’s Andy Cant and Laphroaig’s John Campbell – over to help Mount Vernon’s Dave Pickerell to create the ground-breaking spirit.
No mod cons, though. The team had to use 18th century techniques at the restored plant. ‘We didn’t measure anything – it was all just done by taste,’ Campbell told Washington’s WTOP website. ‘And, eventually, I think we came to the conclusion that what we were making wasn’t half bad.’
Transatlantic tipple: Scottish malted barley was used to make the whiskies
The venture, set to benefit charities and educational ventures, is a nod to the influence of Scot James Anderson, an experienced whisky-maker who in 1797 persuaded a reluctant Washington to build a distillery at Mount Vernon as a sideline to his milling operation.
Two years later, the plant was churning out 11,000 gallons of whiskey, was the biggest in the young nation – and even the family physician was being paid in liquid form. Livestock, including Washington’s prize hogs, were fattened on the left-over cooked mash.
The ‘new’ George Washington whisky, however, bears little resemblance to the liquid the Founding Father would have known and tasted – Washington’s recipe was 60% rye, 35% corn and 5% malted barley.
Then again, it was also shipped in cask without having to undergo the inconvenient and time-consuming process of maturation, while the SWA-approved 2015 spirit was at least aged for over three years.
After all, you have to draw the line somewhere…
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