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This film contains very strong language | 0:00:14 | 0:00:20 | |
# Kind friends and companions come join me in rhyme... # | 0:00:32 | 0:00:39 | |
Kind friends and companions, come join me in rhyme. | 0:00:39 | 0:00:43 | |
# ..And lift up your voices in chorus with mine | 0:00:43 | 0:00:51 | |
AUDIENCE JOIN IN # Let's drink and be merry All grief to refrain | 0:00:51 | 0:00:59 | |
# For we may or might never all meet here again. # | 0:00:59 | 0:01:09 | |
For we may or might never all meet here again. | 0:01:09 | 0:01:14 | |
I've had that song in my head a lot since you died, Sheila. | 0:01:27 | 0:01:30 | |
I've been thinking about what it meant to you and means to me now | 0:01:32 | 0:01:38 | |
and how those meanings change. | 0:01:38 | 0:01:40 | |
We only met a couple of times | 0:01:43 | 0:01:46 | |
but I think about you driving down to the city for your final performance. | 0:01:46 | 0:01:51 | |
And I wonder how fast you drove, | 0:01:55 | 0:01:58 | |
if you stopped for a smoke... | 0:01:58 | 0:02:00 | |
..what was on the radio. | 0:02:01 | 0:02:02 | |
RADIO: 'And now on the show, songwriter and indie pop raconteur | 0:02:02 | 0:02:06 | |
'Aidan Moffat.' | 0:02:06 | 0:02:10 | |
Did you know you didn't have long? | 0:02:10 | 0:02:12 | |
Were you scared we'd forget you? | 0:02:14 | 0:02:16 | |
Or did you just want the song sung right? | 0:02:18 | 0:02:20 | |
You've been on my mind a lot, Sheila. | 0:02:25 | 0:02:27 | |
But before we met... | 0:02:28 | 0:02:31 | |
I was just hoping for a good laugh. | 0:02:31 | 0:02:33 | |
# Fin I was aff to leave the ploo I said to Fairmer Broon | 0:02:33 | 0:02:37 | |
# The money that I hae workit for Will you kindly lay it doon? | 0:02:37 | 0:02:41 | |
# This very day I mean to be in Glesca toon by half past three | 0:02:41 | 0:02:45 | |
# I've been a o'er lang a gackie in the country | 0:02:45 | 0:02:50 | |
# Wae ma big Kilmarnock bunnet As I ran to catch the train | 0:02:50 | 0:02:54 | |
# I'll never forget the trick that was played on me by Sandy Laing | 0:02:54 | 0:02:58 | |
# Says he, "Mind, Jock, when ye get tae the toon | 0:02:58 | 0:03:01 | |
# "Speir ye for Katie Bain, ma Loon, | 0:03:01 | 0:03:03 | |
# "She bides at number eichty street in Glesca." | 0:03:03 | 0:03:06 | |
OVER LOUDSPEAKER: 'Ahoy there, shipmates, | 0:03:36 | 0:03:39 | |
'and welcome to our maiden voyage. | 0:03:39 | 0:03:41 | |
'Uh, you may be wondering why we're on a boat that isn't moving. | 0:03:41 | 0:03:46 | |
'If you look to the front of the ship, you will see a bridge | 0:03:46 | 0:03:49 | |
'which we can't get past due to some technical difficulties.' | 0:03:49 | 0:03:54 | |
# Oh, my ship lies in harbour | 0:03:56 | 0:04:00 | |
# She's ready to sail... # | 0:04:00 | 0:04:03 | |
Our ship had barely left harbour before we hit trouble. | 0:04:03 | 0:04:07 | |
# ..God, grant her safe voyage | 0:04:07 | 0:04:11 | |
# Without any gales... # | 0:04:11 | 0:04:16 | |
Maybe you would have seen it as an omen, | 0:04:16 | 0:04:18 | |
a warning from the gods to leave these songs alone. | 0:04:18 | 0:04:21 | |
But I've never believed in that stuff. | 0:04:23 | 0:04:25 | |
# In ma big Kilmarnock bunnet on the train fae Falkirk High | 0:04:26 | 0:04:30 | |
# I'll never forget the trick was played on me by John McKay | 0:04:30 | 0:04:34 | |
# He said if I was efter thrills just ask wee Kate that sells the pills | 0:04:34 | 0:04:38 | |
# She knocks aboot... # | 0:04:38 | 0:04:40 | |
Can we slow it down a wee bit? | 0:04:40 | 0:04:42 | |
'When I started out, | 0:04:44 | 0:04:45 | |
'I didn't know anything about you or ballads you sang.' | 0:04:45 | 0:04:49 | |
Maybe... Maybe get a wee... | 0:04:49 | 0:04:52 | |
'I just wanted to take old songs from Scotland that made me giggle | 0:04:52 | 0:04:56 | |
'and rewrite them for fun.' | 0:04:56 | 0:04:58 | |
Just dinnae play full-on in the verses, that's all you need. | 0:04:58 | 0:05:03 | |
# The train pulls intae Queen Street so I stop a laddie there | 0:05:09 | 0:05:13 | |
# I says, "Here, mate, d'ye happen to ken the way to Blythswood Square?" | 0:05:13 | 0:05:17 | |
# The boy squares up for all to see and stuck the fuckin' heid on me. # | 0:05:17 | 0:05:21 | |
You could say I was exploring the roots of my country. | 0:05:23 | 0:05:26 | |
So I wanted to sing the songs outside of my usual comfort zones, | 0:05:28 | 0:05:32 | |
in towns and villages that had never heard of me. | 0:05:32 | 0:05:36 | |
And there's plenty of those. | 0:05:36 | 0:05:37 | |
I probably shouldn't be looking at you, should I? | 0:05:38 | 0:05:40 | |
I should be looking off into the distance, | 0:05:40 | 0:05:42 | |
wondering where I'm going to go next. | 0:05:42 | 0:05:44 | |
Aye, aye, I'm a very interesting person. | 0:05:44 | 0:05:46 | |
I like Star Wars. | 0:05:46 | 0:05:48 | |
I'm into... I quite like music, occasionally. | 0:05:48 | 0:05:51 | |
No' that modern pish. | 0:05:51 | 0:05:53 | |
I like the good old days. You know, when music had a tune. | 0:05:53 | 0:05:56 | |
THEY LAUGH | 0:05:58 | 0:05:59 | |
Ah! There we go. | 0:05:59 | 0:06:00 | |
OVER LOUDSPEAKER: 'The technical difficulties being that | 0:06:03 | 0:06:06 | |
'there's no-one there to open it. | 0:06:06 | 0:06:07 | |
'But rest assured, someone is on the way and we'll get sailing ASAP.' | 0:06:07 | 0:06:13 | |
Fuck's sake. | 0:06:27 | 0:06:28 | |
Oh, aye, aye. Oh. Yo! | 0:06:32 | 0:06:34 | |
I'm not quite sure what happens in the original. | 0:06:47 | 0:06:50 | |
There's a guy who's travelling down from the north to go for a night out | 0:06:51 | 0:06:54 | |
in Glasgow and his mate tells him to go and meet this girl called Kate. | 0:06:54 | 0:07:00 | |
We don't quite find out who Kate is or what she does | 0:07:00 | 0:07:03 | |
but he does end up in the Clyde minus his trousers. | 0:07:03 | 0:07:07 | |
# In ma big Kilmarnock bunnet on the train fae Falkirk High | 0:07:09 | 0:07:13 | |
# I'll never forget the trick that was played | 0:07:13 | 0:07:15 | |
# On me by John McKay | 0:07:15 | 0:07:16 | |
# He said if I was after thrills | 0:07:16 | 0:07:18 | |
# Just ask fae Kate, she sells the pills | 0:07:18 | 0:07:20 | |
# She knocks about the Blythswood Square in Glasgow... # | 0:07:20 | 0:07:24 | |
So, there I am, bloody, wasted, don't know where I am. | 0:07:30 | 0:07:33 | |
This is before Google maps, incidentally. | 0:07:33 | 0:07:36 | |
# We should meet again | 0:07:41 | 0:07:44 | |
# Be it on land or on the sea | 0:07:44 | 0:07:49 | |
# I will always remember | 0:07:49 | 0:07:54 | |
# Your kindness to me. # | 0:07:56 | 0:08:00 | |
I wanted to bring new perspective to the songs, | 0:08:18 | 0:08:21 | |
to adapt them to my own life. | 0:08:21 | 0:08:24 | |
At first I loved the smut and the humour, | 0:08:24 | 0:08:28 | |
but then I found myself being drawn into the darker stuff. | 0:08:28 | 0:08:31 | |
And that was the path that led me to you. | 0:08:35 | 0:08:37 | |
BIRD CHEEPS | 0:08:43 | 0:08:44 | |
# Friends, I have a sad story | 0:08:49 | 0:08:53 | |
# A very sad story to tell | 0:08:53 | 0:08:58 | |
# I married a man for his money | 0:08:58 | 0:09:02 | |
# But he's worse than the devil himsel | 0:09:02 | 0:09:07 | |
# For when Mickey comes home I get battered | 0:09:07 | 0:09:12 | |
# He batters me all black and blue | 0:09:12 | 0:09:16 | |
# And if I say a word I get scattered | 0:09:16 | 0:09:20 | |
# From the kitchen I ben to the room. # | 0:09:20 | 0:09:24 | |
The people abroad, what they know Scotland for is, er... | 0:09:26 | 0:09:30 | |
..tartan, the swing of the kilt... | 0:09:32 | 0:09:35 | |
..er, shortbread. | 0:09:36 | 0:09:39 | |
That isnae what Scotland's all about at all. | 0:09:39 | 0:09:42 | |
There is a culture other than that, which is far older than that. | 0:09:42 | 0:09:46 | |
# Ah, but whisky I ne'er was a lover | 0:09:49 | 0:09:53 | |
# But what can a poor woman do? | 0:09:53 | 0:09:55 | |
# I'll go and I'll drown all me sorrows | 0:09:57 | 0:10:01 | |
# But I wish I could drown Mickey too | 0:10:01 | 0:10:05 | |
# So I'll go and I'll get blue bleezin' blind drunk | 0:10:05 | 0:10:10 | |
# Just to give Mickey a warning | 0:10:10 | 0:10:15 | |
# And just for spite I will stay out all night | 0:10:15 | 0:10:18 | |
# And come rollin' home drunk in the morning. # | 0:10:18 | 0:10:22 | |
When I listened to you sing those old songs, | 0:10:29 | 0:10:31 | |
I thought I could hear similarities with what I do | 0:10:31 | 0:10:34 | |
in the storytelling and everyday language and maybe even the singing, | 0:10:34 | 0:10:39 | |
where the feeling means more than the notes. | 0:10:39 | 0:10:41 | |
And then I found out you were a Traveller. | 0:10:44 | 0:10:46 | |
I remember when I was wee, I'd see the Travellers' caravans | 0:10:48 | 0:10:51 | |
by the graveyard where my grandad took me for walks. | 0:10:51 | 0:10:54 | |
The kids at school called them gypsies and tinks and mocked them, | 0:10:56 | 0:11:00 | |
but I thought their lifestyle, your lifestyle, sounded pretty cool, | 0:11:00 | 0:11:05 | |
roaming around and settling wherever you fancied. | 0:11:05 | 0:11:08 | |
My mother was born in a bough tent at the River Tay near Perth. | 0:11:15 | 0:11:20 | |
I was born into a stable where they kept the horses. | 0:11:22 | 0:11:26 | |
We lived in a bubble of our own and we had songs that had died | 0:11:30 | 0:11:34 | |
many centuries ago. | 0:11:34 | 0:11:35 | |
We didn't want to blend in with society | 0:11:41 | 0:11:43 | |
because if you blend in with the society, | 0:11:43 | 0:11:45 | |
being a tinker or a Traveller... | 0:11:45 | 0:11:47 | |
..your culture's lost. | 0:11:48 | 0:11:50 | |
I'm the last in the line of my family | 0:12:00 | 0:12:03 | |
to keep this culture alive and I'm very adamant to keep it intact, | 0:12:03 | 0:12:09 | |
the way it was handed down to me. | 0:12:09 | 0:12:11 | |
And anybody that doesnae appreciate that, well... | 0:12:11 | 0:12:14 | |
UPBEAT RHYTHM PLAYS | 0:12:14 | 0:12:16 | |
I still havenae worked out how many versus or choruses | 0:12:30 | 0:12:32 | |
I want in this one. | 0:12:32 | 0:12:34 | |
Because some of them are a bit shit. | 0:12:34 | 0:12:35 | |
I thought it would be good to tell the story a bit quicker. | 0:12:35 | 0:12:38 | |
These fucking songs go on and on and on. | 0:12:38 | 0:12:40 | |
Yeah, yeah. | 0:12:40 | 0:12:41 | |
Folk music needs a good editor, I think. | 0:12:44 | 0:12:47 | |
Yeah. | 0:12:47 | 0:12:48 | |
So I'd rewritten the songs, we'd arranged and rehearsed them | 0:12:57 | 0:13:00 | |
and it was time to give them a road test. | 0:13:00 | 0:13:02 | |
The first person I thought of was you. | 0:13:04 | 0:13:06 | |
I thought you'd maybe understand. | 0:13:08 | 0:13:10 | |
I hoped you might even like them. | 0:13:10 | 0:13:11 | |
This folk thing was all new to me, but if I could impress you, | 0:13:13 | 0:13:18 | |
I knew I'd be all right. | 0:13:18 | 0:13:19 | |
A ballad is just a story, so you listen to the story of the ballad. | 0:13:22 | 0:13:26 | |
But there's long ballads that can be boring. | 0:13:29 | 0:13:33 | |
There are a few, I think, that wear on a wee bit too long, aye. | 0:13:35 | 0:13:38 | |
Aye. My ballads arenae like that. | 0:13:38 | 0:13:41 | |
With a lot of the old folk songs, | 0:13:44 | 0:13:47 | |
they fall out of fashion because they don't really... | 0:13:47 | 0:13:50 | |
There's not a lot of common ground for modern listeners. | 0:13:51 | 0:13:55 | |
So what... Instead... | 0:13:56 | 0:13:57 | |
And the part of the song... Obviously, the part of the song | 0:13:59 | 0:14:02 | |
is about going out to sea and being separated, you know, | 0:14:02 | 0:14:05 | |
there's that... You know, the ship lying, | 0:14:05 | 0:14:07 | |
lying in harbour and such. | 0:14:07 | 0:14:09 | |
No, but that... You see, you've got the wrong context to that. | 0:14:09 | 0:14:13 | |
My ship lies in harbour - | 0:14:13 | 0:14:15 | |
it's no' a ship. | 0:14:15 | 0:14:16 | |
My ship lies in harbour means he's lying dying, | 0:14:18 | 0:14:20 | |
and that ship's going to carry him to heaven. | 0:14:20 | 0:14:23 | |
Really? Aye. | 0:14:23 | 0:14:25 | |
Ah, right. It's no' a ship. | 0:14:25 | 0:14:27 | |
Oh, I didnae know that. My ship lies in harbour. | 0:14:27 | 0:14:29 | |
He's ready to sail, he's ready to die. | 0:14:31 | 0:14:32 | |
I want to hear your version on it. | 0:14:34 | 0:14:36 | |
OK. | 0:14:36 | 0:14:38 | |
HE CLEARS HIS THROAT | 0:14:38 | 0:14:40 | |
# Now the sirens are wailing | 0:14:40 | 0:14:43 | |
# The taxi rank grows | 0:14:43 | 0:14:46 | |
# There's another wee ned with another burst nose | 0:14:46 | 0:14:52 | |
# They're puking their rings | 0:14:52 | 0:14:55 | |
# And they're shouting their song | 0:14:55 | 0:14:58 | |
# And right here among them is where I belong | 0:14:58 | 0:15:04 | |
# So here's a health to the company | 0:15:04 | 0:15:07 | |
# Likewise to my lass | 0:15:07 | 0:15:11 | |
# Let's drink and be merry all out of one glass | 0:15:11 | 0:15:16 | |
# Let's drink and be merry | 0:15:16 | 0:15:21 | |
# Auld grief to refrain | 0:15:21 | 0:15:24 | |
# For we may or may never all meet here again. # | 0:15:24 | 0:15:31 | |
Now you've taken the context and blootered it. | 0:15:31 | 0:15:34 | |
Well, I know that now, yes. | 0:15:34 | 0:15:36 | |
You didn't investigate that song. I did. | 0:15:36 | 0:15:38 | |
I did look into it, but I couldnae really find much that... | 0:15:38 | 0:15:41 | |
No-one really mentioned the metaphor that... | 0:15:41 | 0:15:43 | |
You changed the verses, that's not on. | 0:15:43 | 0:15:46 | |
I mean, that's the tradition of these songs where, | 0:15:46 | 0:15:48 | |
you know, they often add bits, take away bits, make them your own. | 0:15:48 | 0:15:52 | |
Never heard of that. | 0:15:52 | 0:15:53 | |
THUNDER RUMBLES | 0:15:57 | 0:15:59 | |
"Know your history," you said. | 0:16:00 | 0:16:03 | |
You've got to know your history. | 0:16:03 | 0:16:05 | |
But I've never really been into it. | 0:16:07 | 0:16:09 | |
I hated it at school. | 0:16:09 | 0:16:11 | |
But maybe that's because the teacher was a prick. | 0:16:12 | 0:16:15 | |
HE SHOUTS | 0:16:15 | 0:16:17 | |
GAELIC CHANTING | 0:16:19 | 0:16:22 | |
Pardon the language, Sheila. | 0:16:38 | 0:16:40 | |
And don't get me wrong, history's fine. | 0:16:40 | 0:16:43 | |
And sometimes it's fun. | 0:16:43 | 0:16:45 | |
But I prefer the chaos of now... | 0:16:47 | 0:16:49 | |
..and the uncertainty and potential of tomorrow. | 0:16:50 | 0:16:54 | |
GAELIC CHANT CONTINUES | 0:16:56 | 0:16:58 | |
DOG BARKS | 0:17:51 | 0:17:54 | |
She gave me a fucking roasting in the car | 0:18:47 | 0:18:50 | |
because I'd changed the words to one of the songs. | 0:18:50 | 0:18:53 | |
Was it Parting Song? Yeah. | 0:18:53 | 0:18:54 | |
Apparently, it's... | 0:18:56 | 0:18:59 | |
She says there's a metaphor in it about the ship lying in harbour. | 0:18:59 | 0:19:03 | |
I thought it was about a guy leaving, | 0:19:03 | 0:19:05 | |
but apparently it's about a guy dying. | 0:19:05 | 0:19:07 | |
And I was like, "What? "How am I expected to understand | 0:19:07 | 0:19:09 | |
"your stupid old religious metaphors?" | 0:19:09 | 0:19:11 | |
Do you know what I mean? | 0:19:11 | 0:19:12 | |
I guess she's probably quite protective over it all, | 0:19:12 | 0:19:15 | |
as well, you know? She's spent her whole life in that tradition | 0:19:15 | 0:19:18 | |
and then you come along and she assumes | 0:19:18 | 0:19:19 | |
that you're young whippersnappers. | 0:19:19 | 0:19:21 | |
Well, I was explaining that to her, as well. | 0:19:21 | 0:19:23 | |
Look, the reason I'm doing it is to introduce the songs to folk | 0:19:23 | 0:19:26 | |
who wouldnae normally listen to them and that way... | 0:19:26 | 0:19:28 | |
You know, you have to adapt them in some way. | 0:19:28 | 0:19:31 | |
And I think I talked her round by the end it. | 0:19:31 | 0:19:34 | |
I was disgusted. | 0:19:36 | 0:19:38 | |
I'm sorry to say that, but my... | 0:19:38 | 0:19:40 | |
My songs and my ballads are so precious to me | 0:19:40 | 0:19:43 | |
that we don't change them. | 0:19:43 | 0:19:45 | |
If it's good enough for our forbearers, it's good enough for us. | 0:19:45 | 0:19:48 | |
Why change an unaccompanied traditional ballad? | 0:19:48 | 0:19:52 | |
He needs to listen a lot more. | 0:19:56 | 0:19:58 | |
And no' do what he wants to do, | 0:19:59 | 0:20:01 | |
because he'll never get out of the bit, singing the way he's singing. | 0:20:01 | 0:20:06 | |
And disrespecting the songs. | 0:20:07 | 0:20:08 | |
# I'm no' really into this, I'm doing it for you | 0:20:17 | 0:20:20 | |
# The butcher was... # | 0:20:20 | 0:20:22 | |
I fucked that up there, sorry. | 0:20:22 | 0:20:23 | |
I'll start that one again. I should actually just read it, | 0:20:23 | 0:20:26 | |
but I'm trying to be cool. | 0:20:26 | 0:20:28 | |
# The butcher gave my wife a wave and gave her a surprise | 0:20:28 | 0:20:31 | |
# When she saw the pretty beef that was protruding fae his flies | 0:20:31 | 0:20:35 | |
# Oh, who's in you this time? | 0:20:35 | 0:20:37 | |
# Who's up you noo? | 0:20:37 | 0:20:39 | |
# I'm no' really into this, I'm doing it for you. # | 0:20:39 | 0:20:42 | |
SMATTERING OF APPLAUSE | 0:20:44 | 0:20:46 | |
So, it's raffle time, then. | 0:20:46 | 0:20:48 | |
Everybody got a ticket? | 0:20:50 | 0:20:51 | |
Oh! Sorry. | 0:21:05 | 0:21:06 | |
'It never used to be like this. | 0:21:08 | 0:21:09 | |
'I don't expect you'll remember Britpop, Sheila, back in the 1990s.' | 0:21:12 | 0:21:17 | |
Shit. Was that your guitar? Yeah. | 0:21:18 | 0:21:20 | |
'Well, if Britpop was a party, then my first band, Arab Strap, | 0:21:20 | 0:21:26 | |
'were a bit like the hangover.' | 0:21:26 | 0:21:28 | |
So, that was the first big weekend of the summer. | 0:21:28 | 0:21:31 | |
There was only one car going, so some of us had to get the train. | 0:21:33 | 0:21:36 | |
We got through quite late and we went to a pub to take the gear. | 0:21:36 | 0:21:40 | |
There was no problems getting in, still others waiting | 0:21:40 | 0:21:42 | |
in the front of the queue, so we skipped in. | 0:21:42 | 0:21:44 | |
It was a good night. Everyone was naughty. | 0:21:44 | 0:21:47 | |
I ended up dancing with some blonde girl. | 0:21:47 | 0:21:49 | |
I thought she had been quite pretty until last night when Matthew | 0:21:49 | 0:21:52 | |
informed me she had in fact been a pig. | 0:21:52 | 0:21:54 | |
# It went for a weekend, it lasted forever | 0:21:59 | 0:22:02 | |
# High-weather friends, it's officially summer | 0:22:02 | 0:22:06 | |
# It went for a weekend, it lasted forever | 0:22:06 | 0:22:09 | |
# High-weather friends, it's officially summer | 0:22:09 | 0:22:13 | |
# Went for a weekend, it lasted forever. # | 0:22:13 | 0:22:16 | |
'But hangovers don't last forever. | 0:22:18 | 0:22:20 | |
'I've always sung songs about cities and suburbs, | 0:22:23 | 0:22:27 | |
'but folk music's your world. | 0:22:27 | 0:22:29 | |
'I was just passing through.' | 0:22:30 | 0:22:31 | |
Fuck! | 0:22:33 | 0:22:34 | |
Fuck that. | 0:22:38 | 0:22:39 | |
Oh, no! Fuck off! | 0:22:44 | 0:22:46 | |
It's fucking freezing! | 0:22:47 | 0:22:48 | |
Oh! | 0:22:48 | 0:22:50 | |
Why is it that whenever you have somebody with you, disaster strikes? | 0:23:32 | 0:23:37 | |
I've just broken my headphones. | 0:23:37 | 0:23:39 | |
Does it not click back on? | 0:23:39 | 0:23:41 | |
No, it's now broken off completely. | 0:23:41 | 0:23:42 | |
Right, OK. I don't know what to do with this now. | 0:23:42 | 0:23:44 | |
Argh... | 0:23:44 | 0:23:46 | |
Anyway, good afternoon to Mr Aidan Moffat. | 0:23:46 | 0:23:50 | |
Hello, hiya. How are you doing? | 0:23:50 | 0:23:52 | |
Mildly hung over, but struggling on. | 0:23:52 | 0:23:55 | |
How long now since Arab Strap? | 0:23:55 | 0:23:57 | |
It's nearly, what? Ten years? | 0:23:57 | 0:23:58 | |
But it's a tour with a difference. | 0:23:59 | 0:24:01 | |
It's more about the... | 0:24:01 | 0:24:02 | |
It's more about the country than it is about the music, I think. | 0:24:04 | 0:24:07 | |
It's a tour. It's a Scottish tour | 0:24:07 | 0:24:09 | |
and it's called Where You're Meant To Be. | 0:24:09 | 0:24:11 | |
See my good lady, I might put them on there. | 0:24:13 | 0:24:15 | |
You're going to Drumnadrochit at Nessie the monster. | 0:24:15 | 0:24:18 | |
Where else are you going? | 0:24:18 | 0:24:19 | |
We're doing a place just outside Oban called Lerags. | 0:24:19 | 0:24:22 | |
Which is in... | 0:24:23 | 0:24:24 | |
Excuse me. There was a man we met, Liam, | 0:24:26 | 0:24:28 | |
whose back garden is an ancient graveyard | 0:24:28 | 0:24:30 | |
that he's been restoring and renovating. | 0:24:30 | 0:24:33 | |
Oh, no, her hair gives it a nice 3-D effect, Moira. I like it. | 0:24:36 | 0:24:39 | |
# Scots be a nation right proud of our heritage. # | 0:24:39 | 0:24:43 | |
And then it all ends in Glasgow again in the Barrowlands. | 0:24:43 | 0:24:48 | |
The Barrowlands is such an important part | 0:24:48 | 0:24:50 | |
of certainly Glasgow's musical culture. | 0:24:50 | 0:24:52 | |
That was the first gig I ever went to | 0:24:52 | 0:24:54 | |
and it was the first venue I ever saw a band playing. | 0:24:54 | 0:24:57 | |
Do you think that in an independent Scotland, | 0:24:57 | 0:24:59 | |
marriage between English and Scots can be legal? | 0:24:59 | 0:25:02 | |
Why wouldn't it be?! | 0:25:03 | 0:25:04 | |
HE LAUGHS | 0:25:04 | 0:25:06 | |
I don't know. | 0:25:06 | 0:25:07 | |
Nessie says yessie! | 0:25:08 | 0:25:10 | |
No! | 0:25:12 | 0:25:13 | |
Bugger to hell. | 0:25:15 | 0:25:16 | |
ECHOING VOICE: You've blootered. | 0:25:18 | 0:25:20 | |
'With your review still ringing in my ears, | 0:25:25 | 0:25:28 | |
'I was beginning to have doubts after that first gig.' | 0:25:28 | 0:25:31 | |
Fucking hell. | 0:25:33 | 0:25:34 | |
'But you can't expect everyone to like you. | 0:25:42 | 0:25:44 | |
'And I've never really cared about being popular.' | 0:25:45 | 0:25:48 | |
This is Falkirk, the band's hometown, | 0:25:49 | 0:25:52 | |
a place they've branded rundown and boring, | 0:25:52 | 0:25:54 | |
where they claim local folk are violent alcoholics | 0:25:54 | 0:25:57 | |
whose main pastime is fighting. | 0:25:57 | 0:25:59 | |
In fact, it's got nothing going for it at all. | 0:25:59 | 0:26:01 | |
And that controversial view of Falkirk | 0:26:01 | 0:26:03 | |
has outraged the people of the town, all the more so | 0:26:03 | 0:26:05 | |
because it comes from members of a home-grown pop group. | 0:26:05 | 0:26:08 | |
An outrage that these individuals, | 0:26:08 | 0:26:11 | |
who are unknown in the field of modern music, | 0:26:11 | 0:26:15 | |
can come and just take a swipe at Falkirk. | 0:26:15 | 0:26:18 | |
There's two ways to get on in show business - | 0:26:18 | 0:26:20 | |
one is to be outrageous, the other one is to have talent, | 0:26:20 | 0:26:22 | |
and obviously they have nothing of the latter. | 0:26:22 | 0:26:24 | |
So I'm no stranger to criticism, Sheila. | 0:26:25 | 0:26:28 | |
But maybe you were a bit quick to judge. | 0:26:29 | 0:26:31 | |
I love these old songs, their stories and their morals. | 0:26:33 | 0:26:36 | |
But the words don't make much sense to the modern ear. | 0:26:37 | 0:26:40 | |
# Ma big Kilmarnock bunnet as I ran to catch the train | 0:26:40 | 0:26:45 | |
# I'll never forget the trick that was played on me by Sandy Laing | 0:26:45 | 0:26:50 | |
# Says he, mind, Jock, when you come to the toon | 0:26:50 | 0:26:52 | |
# Spare ye for Katie Bain, ma loon | 0:26:52 | 0:26:55 | |
# She abides in number eichty street in Glesca | 0:26:55 | 0:26:59 | |
# Now I met a wee lassie dressed in a strippet frock | 0:26:59 | 0:27:04 | |
# She says to me richt cheerily, hello, is that you, Jock? | 0:27:04 | 0:27:08 | |
# Your big Kilmarnock's awfy plum | 0:27:08 | 0:27:11 | |
# Come on and staun us a doddle o' rum | 0:27:11 | 0:27:14 | |
# We'll show you the muckle sichts o' Glesca | 0:27:14 | 0:27:18 | |
# Wi' my big Kilmarnock bunnet as I ran to catch the train... # | 0:27:18 | 0:27:22 | |
'Instead of hills and heather, why not sing of glass and neon? | 0:27:22 | 0:27:28 | |
'Instead of hard graft at the plough, | 0:27:28 | 0:27:30 | |
'why not a bad day behind the counter?' | 0:27:30 | 0:27:32 | |
Could you get me two sausages? | 0:27:32 | 0:27:35 | |
'Instead of birdsong, why not sirens?' | 0:27:35 | 0:27:38 | |
Perhaps the Isle of Lewis, with very strict Christian principles, | 0:27:49 | 0:27:53 | |
is not the best place to be swearing at people for half an hour | 0:27:53 | 0:27:57 | |
and singing about orgies. Yeah, yeah. | 0:27:57 | 0:27:59 | |
They'll understand where I'm coming fae here. | 0:28:00 | 0:28:02 | |
This is the place to do it. | 0:28:02 | 0:28:04 | |
# I will do the best I can | 0:28:13 | 0:28:18 | |
# For I'm bound to go a roving way | 0:28:18 | 0:28:25 | |
# My nice, young gentleman. # | 0:28:25 | 0:28:31 | |
APPLAUSE | 0:28:31 | 0:28:34 | |
# There's sludgie and there's dredger boats | 0:28:40 | 0:28:43 | |
# To keep the river clean | 0:28:43 | 0:28:46 | |
# Put up your hand, pull the chain | 0:28:46 | 0:28:49 | |
# You ken fine what I mean | 0:28:49 | 0:28:52 | |
# But why in the hell has the Holy Loch | 0:28:52 | 0:28:55 | |
# Been left oot o' that scheme? | 0:28:55 | 0:28:58 | |
# For we are the Glasgow Eskimos | 0:28:58 | 0:29:02 | |
# Hello! Hello! | 0:29:04 | 0:29:07 | |
# We are the Eskimos | 0:29:07 | 0:29:10 | |
# Hello! Hello! | 0:29:10 | 0:29:12 | |
# We're the Glasgow Eskimos | 0:29:12 | 0:29:15 | |
# For we'll gaff that nyaff called Lanin | 0:29:15 | 0:29:19 | |
# We'll spear him where he blows | 0:29:19 | 0:29:22 | |
# For we are the Glasgow Eskimos | 0:29:22 | 0:29:26 | |
# Now it's on and aff and roon | 0:29:28 | 0:29:31 | |
# Everything on the pier | 0:29:31 | 0:29:34 | |
# There's cooncillors, collaborators | 0:29:34 | 0:29:37 | |
# Pimps and profiteers | 0:29:37 | 0:29:39 | |
# Noo the hairies jock the polis | 0:29:39 | 0:29:42 | |
# The polis, they're in tears | 0:29:42 | 0:29:46 | |
# For we are the Glasgow Eskimos. # | 0:29:46 | 0:29:49 | |
Now, we are going to have a short interval. | 0:29:51 | 0:29:54 | |
It's a comfort break, | 0:29:54 | 0:29:55 | |
but it'll gie you a chance to share news with your neighbour | 0:29:55 | 0:29:58 | |
and replenish your glasses and that. | 0:29:58 | 0:30:01 | |
Fuck, I'm shitting myself. | 0:30:01 | 0:30:02 | |
Cheers. | 0:30:04 | 0:30:06 | |
Here. No, I... Well, I will. | 0:30:06 | 0:30:10 | |
Aye, exactly. | 0:30:10 | 0:30:12 | |
Me and Sheila. Yeah. Best, best pals. Oh, really? | 0:30:14 | 0:30:18 | |
People like Sheila, they come from a different environment, walk of life. | 0:30:18 | 0:30:21 | |
We're going to have a couple of songs now from a lad I met last year | 0:30:21 | 0:30:25 | |
at the Kerry Festival for the first time. | 0:30:25 | 0:30:27 | |
Would you, please, give a big round of applause to Aidan Moffat? | 0:30:27 | 0:30:31 | |
Hi. | 0:30:35 | 0:30:37 | |
Do you know The Parting Song? | 0:30:37 | 0:30:39 | |
That the Stewarts used to sing? | 0:30:39 | 0:30:41 | |
A lot of these songs that I've been doing tend to take the old songs | 0:30:41 | 0:30:44 | |
from the country and relocate them to the city. | 0:30:44 | 0:30:47 | |
So, that's what I've done with The Parting Song, as well. | 0:30:47 | 0:30:51 | |
# Now the sirens are wailing | 0:30:51 | 0:30:55 | |
# The taxi rank grows | 0:30:55 | 0:30:58 | |
# There's another wee ned with another bust nose | 0:30:58 | 0:31:04 | |
# They're puking their rings and their shouting their songs | 0:31:04 | 0:31:10 | |
# And right here among them is where I belong | 0:31:10 | 0:31:15 | |
# So here's a health to the company | 0:31:15 | 0:31:19 | |
# Likewise to my lass | 0:31:19 | 0:31:23 | |
# Let's drink and be merry all out of one glass | 0:31:23 | 0:31:29 | |
# Let's drink and be merry | 0:31:29 | 0:31:32 | |
# All grief to refrain | 0:31:32 | 0:31:35 | |
# For we may or might never all meet here again. # | 0:31:35 | 0:31:42 | |
Thank you. | 0:31:42 | 0:31:44 | |
APPLAUSE | 0:31:44 | 0:31:45 | |
They seemed to quite enjoy my version that night, | 0:31:50 | 0:31:54 | |
up in the land of the plough, | 0:31:54 | 0:31:56 | |
where the old ballads are still close to the people. | 0:31:56 | 0:31:59 | |
Well, at least they liked the bits I didn't tamper with. | 0:32:00 | 0:32:04 | |
I even met some friends of yours... | 0:32:05 | 0:32:07 | |
..and they had lots to tell me about you. | 0:32:09 | 0:32:12 | |
What Sheila is, is a folk singer. | 0:32:20 | 0:32:23 | |
What these other people is are singers of folk songs. | 0:32:23 | 0:32:28 | |
And there's a subtle difference. | 0:32:28 | 0:32:30 | |
And Sheila and the Stewarts, | 0:32:30 | 0:32:32 | |
they were not subjected to television and media | 0:32:32 | 0:32:36 | |
or radio or nothing. | 0:32:36 | 0:32:37 | |
They kept the old styles. | 0:32:37 | 0:32:39 | |
Great ballad styles, | 0:32:39 | 0:32:41 | |
which are hundreds and hundreds of years old. | 0:32:41 | 0:32:43 | |
Not only did they sing them, but they worked the life. | 0:32:43 | 0:32:46 | |
I think in some ways, she's the end of an era. | 0:32:53 | 0:32:56 | |
Oh, absolutely. She kens that. | 0:32:56 | 0:32:58 | |
But it wasn't their songs. | 0:33:00 | 0:33:02 | |
They would tell you that. | 0:33:02 | 0:33:04 | |
I also heard that maybe you weren't always quite so sure | 0:33:04 | 0:33:07 | |
about how the old songs should be sung. | 0:33:07 | 0:33:10 | |
Sometimes I put in words that I didn't put in the last time. | 0:33:10 | 0:33:14 | |
Through the years, they develop and they change. | 0:33:14 | 0:33:18 | |
Maybe ten years, ten years, say, "Oh, whose version was that?" | 0:33:18 | 0:33:22 | |
It's just like everything else. | 0:33:22 | 0:33:24 | |
It's inevitable that it's got to change. | 0:33:24 | 0:33:26 | |
You used to accept that singers need to make a song their own. | 0:33:29 | 0:33:33 | |
So, why shouldn't I do it? | 0:33:34 | 0:33:36 | |
Ladies and gentlemen, this is one of the ways that the more pagan people | 0:33:39 | 0:33:44 | |
would have gone about sorting out some of their problems, | 0:33:44 | 0:33:47 | |
if they were having problems with each other. | 0:33:47 | 0:33:50 | |
CHEERING | 0:33:50 | 0:33:53 | |
# Oh, the midges The midges | 0:33:59 | 0:34:01 | |
# I'm no gonnae kid yous | 0:34:01 | 0:34:03 | |
# The midges are really the limit. # | 0:34:03 | 0:34:07 | |
I would just like to say a quick couple of words of thanks before | 0:34:07 | 0:34:11 | |
the famous Aidan Moffat arrives in front of this microphone, | 0:34:11 | 0:34:14 | |
who's from Dennyloanhead and went to the same school as my son. | 0:34:14 | 0:34:19 | |
And they've both been very successful in their lives. | 0:34:19 | 0:34:22 | |
One sings near a graveyard | 0:34:23 | 0:34:25 | |
and the other one climbs up trees and cuts them down. | 0:34:25 | 0:34:28 | |
So, that's what Scottish education does for you. | 0:34:28 | 0:34:31 | |
Hello. | 0:34:40 | 0:34:41 | |
How you doing? You can move in if you like. | 0:34:41 | 0:34:44 | |
So, the next song is an old bothy ballad | 0:34:44 | 0:34:47 | |
called I'm A Rover, which I decided I liked, | 0:34:47 | 0:34:49 | |
because it sounds very romantic - | 0:34:49 | 0:34:51 | |
until you get to the chorus and it transpires the man is only feeling | 0:34:51 | 0:34:55 | |
romantic when he's a bit drunk. | 0:34:55 | 0:34:56 | |
So, I thought, what would be...? | 0:34:56 | 0:34:59 | |
How would that manifest itself in the modern world? | 0:34:59 | 0:35:01 | |
How would a drunken man annoy someone for love in the 21st century? | 0:35:01 | 0:35:07 | |
This man isn't me, incidentally. | 0:35:07 | 0:35:10 | |
I may be singing in the first person, | 0:35:10 | 0:35:12 | |
but I would never endorse this sort of behaviour. | 0:35:12 | 0:35:14 | |
And you'll understand why when I sing it. | 0:35:14 | 0:35:16 | |
# The other night... # | 0:35:18 | 0:35:20 | |
Whoa, sorry. | 0:35:21 | 0:35:23 | |
Just keep going, Stevie, I'll start that again, sorry. | 0:35:23 | 0:35:26 | |
Technical issues with my hand. | 0:35:26 | 0:35:28 | |
OK, as I was saying. | 0:35:31 | 0:35:34 | |
# The other night I was on the rand | 0:35:34 | 0:35:37 | |
# And when I clocked this wee fucking pump | 0:35:37 | 0:35:40 | |
# I sat beside her and said I'd ride her | 0:35:40 | 0:35:44 | |
# But she just took the fucking hump | 0:35:44 | 0:35:47 | |
# And I'm a rover Seldom sober | 0:35:47 | 0:35:50 | |
# I'm a rover of a high degree | 0:35:50 | 0:35:53 | |
# It's when I'm drinkin' I'm always thinkin' | 0:35:53 | 0:35:56 | |
# How to gain my love's company | 0:35:56 | 0:36:00 | |
# I saw her cc'd into an e-mail | 0:36:00 | 0:36:03 | |
# We'd been sent by a mutual mate | 0:36:03 | 0:36:06 | |
# So I wrote to her to try and woo her | 0:36:06 | 0:36:09 | |
# Still she did not reciprocate | 0:36:09 | 0:36:13 | |
# And I'm a rover Seldom sober | 0:36:13 | 0:36:16 | |
# I'm a rover of high degree | 0:36:16 | 0:36:19 | |
# It's when I'm drinkin' I'm always thinkin' | 0:36:19 | 0:36:22 | |
# How to gain my love's company | 0:36:22 | 0:36:25 | |
# I got her number off her wee sister | 0:36:25 | 0:36:29 | |
# She exchanged it for double gin | 0:36:29 | 0:36:32 | |
# I started texting Soon I was sexting | 0:36:32 | 0:36:36 | |
# So her sister kicked my cunt in | 0:36:36 | 0:36:39 | |
# And I'm a rover Seldom sober | 0:36:39 | 0:36:41 | |
# I'm a rover of high degree | 0:36:41 | 0:36:46 | |
# It's when I'm drinkin' I'm always thinkin' | 0:36:46 | 0:36:48 | |
# How to gain my love's company. # | 0:36:48 | 0:36:52 | |
Well, good morning, folks. | 0:37:04 | 0:37:05 | |
My name is George Edwards | 0:37:05 | 0:37:06 | |
and it's my pleasure to welcome you aboard the Nessie Hunter. | 0:37:06 | 0:37:10 | |
I, personally, have had several sightings over the years. | 0:37:10 | 0:37:14 | |
There is no doubt at all in my opinion about their existence. | 0:37:14 | 0:37:17 | |
Belief is good at starting fights, Sheila. | 0:37:20 | 0:37:23 | |
Everyone thinks that their way's the right way. | 0:37:25 | 0:37:28 | |
I know a singer called George up at Loch Ness. | 0:37:29 | 0:37:33 | |
Around the time of our tour, | 0:37:33 | 0:37:35 | |
he found himself in the same sort of bother. | 0:37:35 | 0:37:39 | |
Photograph number six is the zoomed-in version | 0:37:39 | 0:37:42 | |
of photograph number three. | 0:37:42 | 0:37:44 | |
But I have to tell you, that is not a genuine picture. | 0:37:44 | 0:37:49 | |
I actually faked that picture myself | 0:37:49 | 0:37:51 | |
just to have a little bit of fun. | 0:37:51 | 0:37:52 | |
Over the years, a few people have had a go at me | 0:37:52 | 0:37:55 | |
about having done that picture. | 0:37:55 | 0:37:59 | |
So, does the lake creature actually exist? | 0:37:59 | 0:38:02 | |
Well, if you ask one man, | 0:38:02 | 0:38:03 | |
he'll tell you it is in fact no myth. | 0:38:03 | 0:38:05 | |
Well, I'm convinced that I was looking at one of these | 0:38:05 | 0:38:08 | |
creatures in the water. | 0:38:08 | 0:38:09 | |
If you don't speak Scottish, he's saying, I have proof. | 0:38:09 | 0:38:13 | |
George Edwards said he took the photograph last November, | 0:38:14 | 0:38:17 | |
but another Loch Ness Monster enthusiast has come forward claiming | 0:38:17 | 0:38:21 | |
the image shows a fibreglass model. | 0:38:21 | 0:38:23 | |
Now, Mr Felson says he has new evidence blowing the photograph's | 0:38:23 | 0:38:27 | |
authenticity out of the water. | 0:38:27 | 0:38:30 | |
Steve, you've come out and attacked this photograph, | 0:38:30 | 0:38:33 | |
but are you not pleased that this has brought publicity | 0:38:33 | 0:38:35 | |
to the search for Nessie? Because this is something you believe in. | 0:38:35 | 0:38:39 | |
I'm here to solve this world-class mystery. | 0:38:39 | 0:38:44 | |
And this doesn't help, at all. | 0:38:44 | 0:38:46 | |
Today, Mr Edwards declined to be interviewed on camera, | 0:38:46 | 0:38:49 | |
but he told me that he denied knowing anything about a fake hump. | 0:38:49 | 0:38:54 | |
You know... There is a... There's not just a cynical side to it, | 0:39:08 | 0:39:12 | |
I suppose what I'm saying. There is a... | 0:39:12 | 0:39:14 | |
There is a genuine side | 0:39:14 | 0:39:16 | |
in keeping the myth alive. | 0:39:16 | 0:39:18 | |
When people then look and say, "Oh, | 0:39:18 | 0:39:20 | |
"it's actually a boat operator that's made a fake picture of Nessie | 0:39:20 | 0:39:22 | |
"to try and get people in, therefore the whole lot is bullshit." | 0:39:22 | 0:39:27 | |
If we all stood back and ignored what he'd done, | 0:39:27 | 0:39:30 | |
then we'd be complicit in his cynical behaviour. | 0:39:30 | 0:39:36 | |
But whose side would you be on? | 0:39:50 | 0:39:53 | |
Would it be Steve holding out for something real and true? | 0:39:53 | 0:39:57 | |
Or George, doing whatever it takes to keep the myth alive | 0:40:04 | 0:40:09 | |
and the money coming in? | 0:40:09 | 0:40:12 | |
There they are, fighting over a fable, | 0:40:14 | 0:40:17 | |
just like you and I fought over a folk song. | 0:40:17 | 0:40:19 | |
And here I thought music was meant to bring us all together. | 0:40:25 | 0:40:28 | |
Does anyone know the Ball Of Kerrymuir? | 0:40:30 | 0:40:32 | |
Yes. The Ball Of Kerrymuir is an old song about an orgy. | 0:40:32 | 0:40:36 | |
I mean, I don't know about you, | 0:40:37 | 0:40:39 | |
but I am not socially equipped to deal with that sort of thing. | 0:40:39 | 0:40:43 | |
So, what I did was I thought I'd write a version | 0:40:44 | 0:40:48 | |
of the Ball Of Kerrymuir from the perspective of someone... | 0:40:48 | 0:40:51 | |
And possibly lots of people I know and how we would actually | 0:40:51 | 0:40:55 | |
react to be being at a mass orgy in a town hall. | 0:40:55 | 0:40:58 | |
So, here we go. | 0:40:59 | 0:41:01 | |
HE CLEARS HIS THROAT | 0:41:01 | 0:41:03 | |
# So the wife said will you take me to the famous Kerry ball? | 0:41:05 | 0:41:09 | |
# I said I'll do anything for you, my darling doll | 0:41:09 | 0:41:12 | |
# But who's in you this time? | 0:41:12 | 0:41:15 | |
# Who's up you now? | 0:41:15 | 0:41:17 | |
# I'm not really into this I'm doing it for you | 0:41:17 | 0:41:20 | |
# The Butcher gave my wife a wave and gave her a surprise | 0:41:20 | 0:41:24 | |
# When she saw the pound of beef that was protruding from his flies | 0:41:24 | 0:41:27 | |
# So who's in you this time? | 0:41:27 | 0:41:30 | |
# Who's up you now? | 0:41:30 | 0:41:32 | |
# I'm not really into this I'm doing it for you... # | 0:41:32 | 0:41:35 | |
I forgot who's next, give me a second, hold on, it's a girl. | 0:41:35 | 0:41:38 | |
# The Lassie from the baker's said Do you want to have a try? | 0:41:38 | 0:41:42 | |
# I'm hot just like an oven so get stuck into my pie | 0:41:42 | 0:41:46 | |
# So who's in you this time? | 0:41:46 | 0:41:48 | |
# Who's up you now? | 0:41:48 | 0:41:50 | |
# I'm not really into this I'm doing it for you | 0:41:50 | 0:41:53 | |
# The birthday party clown says will you suck this for a laugh? | 0:41:53 | 0:41:57 | |
# I said show me that again, you cunt, I'll fucking rip it off | 0:41:57 | 0:42:00 | |
# Aye, who's in you this time? | 0:42:00 | 0:42:03 | |
# Who's up you now? | 0:42:03 | 0:42:05 | |
# Get to fuck, your fanny, there's no way I'm touching you | 0:42:05 | 0:42:08 | |
# So that was me I'd had enough | 0:42:08 | 0:42:10 | |
# I couldnae take nae more | 0:42:10 | 0:42:12 | |
# I went to get the wife I couldn't find her anywhere | 0:42:12 | 0:42:15 | |
# Aw who's in her this time? | 0:42:15 | 0:42:17 | |
# Who's in her now? | 0:42:17 | 0:42:20 | |
# I'm not really into this | 0:42:20 | 0:42:22 | |
# I'm doing it for you. # | 0:42:22 | 0:42:25 | |
CHEERING AND APPLAUSE | 0:42:25 | 0:42:28 | |
Hello, again, how are you? | 0:42:47 | 0:42:49 | |
CHEERING | 0:42:49 | 0:42:51 | |
So, our next act for the evening is someone I expect quite a few of you | 0:42:51 | 0:42:55 | |
will know already. | 0:42:55 | 0:42:57 | |
Ladies and gentlemen, Mr George Edwards. | 0:42:57 | 0:43:00 | |
APPLAUSE | 0:43:00 | 0:43:03 | |
# And it's murder, mighty murder in the jail | 0:43:03 | 0:43:07 | |
# When they feed you bread and water frae a pail | 0:43:07 | 0:43:11 | |
# If they catch you with a jimmy they'll send you to Barlinnie | 0:43:11 | 0:43:16 | |
# It's murder, mighty murder, in the jail | 0:43:16 | 0:43:20 | |
# Singing I'm no hairy Mary I'm your maw | 0:43:20 | 0:43:30 | |
# Singing I'm no hairy Mary, cos I'm your father's fairy | 0:43:30 | 0:43:34 | |
# I'm no hairy Mary I'm your maw. # | 0:43:34 | 0:43:38 | |
Thinking about the... | 0:43:38 | 0:43:39 | |
We both love being here, doing what we do here. | 0:43:39 | 0:43:42 | |
Exactly. Aye, aye, aye. And so coming here tonight is the first | 0:43:42 | 0:43:46 | |
time I've seen George since all of that media stuff. | 0:43:46 | 0:43:52 | |
He says, "You're a shit and..." Yeah, yeah, yeah. | 0:43:52 | 0:43:54 | |
To be fair to him... | 0:43:54 | 0:43:56 | |
My friend. Well, exactly, aye. | 0:43:56 | 0:43:58 | |
What I'm saying is, right, | 0:43:58 | 0:44:00 | |
is I haven't seen you since the start of your campaign to convince | 0:44:00 | 0:44:06 | |
the world that that plastic hump was the real thing. | 0:44:06 | 0:44:09 | |
And the whole... Stevie! | 0:44:09 | 0:44:11 | |
Stevie! Chill, man, chill. No. Chill. | 0:44:11 | 0:44:15 | |
This is an old song that... | 0:44:15 | 0:44:17 | |
Does anyone know who Sheila Stewart MBE is? | 0:44:17 | 0:44:20 | |
She's and old folk singer, very well respected. | 0:44:20 | 0:44:23 | |
And I had to sing this to her in a car recently. | 0:44:23 | 0:44:26 | |
And this is my version with new words, | 0:44:26 | 0:44:28 | |
and she told me it was fucking shit. | 0:44:28 | 0:44:30 | |
One of the concerts that I was ever at and Sheila sang at, | 0:44:38 | 0:44:42 | |
that was the climax to her performance. | 0:44:42 | 0:44:45 | |
That was her climax. | 0:44:45 | 0:44:47 | |
It's frustrates her when she hears the old songs as we call them, | 0:44:47 | 0:44:52 | |
which have been passed down... Fucked about. | 0:44:52 | 0:44:55 | |
# Kind friends and companions | 0:44:57 | 0:45:01 | |
# Come join me in rhyme | 0:45:01 | 0:45:04 | |
# And lift up your voices in chorus with mine | 0:45:04 | 0:45:10 | |
# Let's drink and be merry all out of one glass... # | 0:45:10 | 0:45:16 | |
Oh, I've got it wrong. | 0:45:16 | 0:45:19 | |
Thank you much, good night. | 0:45:22 | 0:45:25 | |
It was her mother's Parting Song before her and Sheila feels she... | 0:45:27 | 0:45:31 | |
..has ownership of that. | 0:45:31 | 0:45:33 | |
I suppose she thought it was being tampered with | 0:45:33 | 0:45:37 | |
and maybe something was lost. | 0:45:37 | 0:45:40 | |
# She smiles on me proudly as she sits on my knee | 0:45:40 | 0:45:48 | |
# And there's none in this wide world as happy as me | 0:45:48 | 0:45:54 | |
# So here's a health to the company | 0:45:55 | 0:46:00 | |
# Likewise to my lass | 0:46:00 | 0:46:03 | |
# Let's drink and be merry all out of one glass... # | 0:46:03 | 0:46:10 | |
Let's drink and be merry | 0:46:12 | 0:46:15 | |
all grief to refrain, | 0:46:15 | 0:46:18 | |
For we may or might never... | 0:46:20 | 0:46:24 | |
# ..all meet here again. # | 0:46:24 | 0:46:27 | |
I love the sentiment of that song. | 0:46:27 | 0:46:29 | |
A surrender to the unknowable. | 0:46:29 | 0:46:32 | |
I'm leaving and I don't know what's next. | 0:46:32 | 0:46:35 | |
An eviction. | 0:46:41 | 0:46:42 | |
The local council and local residents | 0:46:42 | 0:46:44 | |
wanted the travelling families off the land, | 0:46:44 | 0:46:47 | |
on which they had camped ever since anyone could remember. | 0:46:47 | 0:46:49 | |
But there's that sadness, too, of leaving something behind, | 0:46:51 | 0:46:56 | |
of knowing you have to keep moving... | 0:46:56 | 0:46:58 | |
..until there's nowhere left to go. | 0:47:00 | 0:47:02 | |
That's our van. Our van just about started then. | 0:47:08 | 0:47:11 | |
Yes. OK. | 0:47:11 | 0:47:14 | |
Thank you. Thanks. I'll give you a call when I get home. | 0:47:14 | 0:47:18 | |
Pump it, big man. OK, bye-bye. James. | 0:47:18 | 0:47:21 | |
Come on. Up, up. | 0:47:34 | 0:47:37 | |
As long as it's not an engine problem, because that could... | 0:48:06 | 0:48:09 | |
That could... That's an overnight fix and tomorrow's Sunday, | 0:48:09 | 0:48:12 | |
so we'd be fucking screwed. | 0:48:12 | 0:48:14 | |
So, where did you get engaged? Glasgow. | 0:48:19 | 0:48:21 | |
In Glasgow? Aye. | 0:48:21 | 0:48:22 | |
You both look really happy. | 0:48:22 | 0:48:24 | |
I will, aye, aye. | 0:49:09 | 0:49:11 | |
Maybe not quite as much as that for me. | 0:49:11 | 0:49:13 | |
Oh, right, wow. | 0:49:17 | 0:49:20 | |
Wow. | 0:49:20 | 0:49:21 | |
And she was just... | 0:49:21 | 0:49:23 | |
# Let's drink and be merry all grief to refrain | 0:49:29 | 0:49:35 | |
# For we may or might never all meet here again | 0:49:35 | 0:49:39 | |
Oh, is it the same? Oh, I see! | 0:49:43 | 0:49:45 | |
It's an old melody, aye. | 0:49:45 | 0:49:47 | |
# They searched the playground dead | 0:49:47 | 0:49:51 | |
# And bare but never found my baby... # | 0:49:51 | 0:49:55 | |
You're too high. Aye, aye. | 0:49:58 | 0:50:00 | |
# I left my baby... | 0:50:00 | 0:50:03 | |
Yeah, yeah, but I changed the words. | 0:50:03 | 0:50:05 | |
# Lying there, lying there. # | 0:50:05 | 0:50:10 | |
Will ye go, lassie, go? | 0:50:23 | 0:50:26 | |
# Oh, the summer-time has come... That's better, Jenny, my God. | 0:50:31 | 0:50:35 | |
ALL: # And the trees are sweetly bloomin' | 0:50:35 | 0:50:40 | |
# And the wild mountain thyme | 0:50:40 | 0:50:45 | |
# Grows around the purple heather | 0:50:45 | 0:50:50 | |
# Will ye go, lassie, go? | 0:50:50 | 0:50:55 | |
# And we'll all go together | 0:50:55 | 0:51:00 | |
# To pull wild mountain thyme | 0:51:00 | 0:51:04 | |
# All around the blooming heather | 0:51:04 | 0:51:09 | |
# Will ye go, lassie, go? | 0:51:09 | 0:51:13 | |
# If my true love, she were gone | 0:51:15 | 0:51:20 | |
# I would surely not find another | 0:51:21 | 0:51:27 | |
# Where the wild mountain thyme | 0:51:27 | 0:51:34 | |
BOTH: # All around the mountain thyme | 0:51:34 | 0:51:40 | |
# Will ye go, lassie, go? | 0:51:40 | 0:51:45 | |
# And we'll all go together | 0:51:45 | 0:51:50 | |
# To pull wild mountain thyme | 0:51:50 | 0:51:54 | |
# All around the blooming heather | 0:51:54 | 0:51:59 | |
# Will ye go, lassie, go? # | 0:51:59 | 0:52:05 | |
There you go. That was lovely. | 0:52:10 | 0:52:12 | |
She was the wind under my sails. | 0:52:24 | 0:52:26 | |
Aye. | 0:52:43 | 0:52:45 | |
Maybe you were right, Sheila. | 0:53:01 | 0:53:04 | |
Maybe these songs don't need me. | 0:53:04 | 0:53:07 | |
Maybe people just want to hear the comfort of something they know. | 0:53:07 | 0:53:10 | |
These songs are in our soil, they're a gift from our ancestors. | 0:53:14 | 0:53:19 | |
Maybe I should just shut up. | 0:53:19 | 0:53:21 | |
My mother's one's weather-beaten. | 0:53:29 | 0:53:31 | |
I'll have to get another photograph for that. | 0:53:31 | 0:53:34 | |
This is Jock Stewart. | 0:53:36 | 0:53:38 | |
That famous song that's known to... | 0:53:40 | 0:53:43 | |
Everybody knows it. | 0:53:43 | 0:53:45 | |
And this was the great Jock Stewart, my grandfather. | 0:53:45 | 0:53:48 | |
A great piper. | 0:53:49 | 0:53:50 | |
This is all my folk, too. | 0:53:53 | 0:53:55 | |
When I look at these graves, every ballad goes through my head | 0:54:11 | 0:54:16 | |
and I'm young again | 0:54:16 | 0:54:18 | |
and remembering what they told me | 0:54:18 | 0:54:21 | |
and the torture and punishment I went through to learn them all. | 0:54:21 | 0:54:26 | |
At that time, I was only young and I thought it was torture | 0:54:28 | 0:54:31 | |
because I couldn't go out and play with the rest of the kids and that. | 0:54:31 | 0:54:36 | |
I had to be in there, learning the ballads. | 0:54:36 | 0:54:38 | |
It's a legacy that dies with me. | 0:54:49 | 0:54:52 | |
It's going underground when I go underground | 0:54:53 | 0:54:56 | |
because there's nobody come to take the legacy from me | 0:54:56 | 0:55:00 | |
to continue. | 0:55:00 | 0:55:01 | |
Hello, hello, hello. How are you? | 0:55:21 | 0:55:25 | |
CHEERING AND APPLAUSE | 0:55:25 | 0:55:27 | |
# Dae you see all the taxis | 0:55:34 | 0:55:38 | |
# Wi' the mad, massive queue? | 0:55:38 | 0:55:41 | |
# They'll take hame all the steamers | 0:55:41 | 0:55:45 | |
# But they'll no' take you, too | 0:55:45 | 0:55:49 | |
# Don't go, bonnie lassie | 0:55:49 | 0:55:53 | |
# Just haud my hands tight | 0:55:53 | 0:55:57 | |
# And we'll sing and we'll dance through the city tonight. # | 0:55:57 | 0:56:04 | |
I thought I used to be able to relate to The First Big Weekend, | 0:56:06 | 0:56:09 | |
but I think I can relate to every fucking one of those songs there. | 0:56:09 | 0:56:12 | |
It's in the Barrowlands. | 0:56:19 | 0:56:20 | |
# Aberdeen, Aberdeen | 0:56:57 | 0:57:01 | |
# You're beautiful to me! # | 0:57:01 | 0:57:03 | |
What I discovered on our travels is I'm very much a city sort of person. | 0:57:34 | 0:57:39 | |
I mean, I like the countryside. | 0:57:39 | 0:57:41 | |
It's nice for a visit, right? | 0:57:41 | 0:57:43 | |
Fuck that. I mean... Ah... | 0:57:43 | 0:57:47 | |
I like comic shops and wi-fi and things like that, you know? | 0:57:47 | 0:57:51 | |
LAUGHTER | 0:57:51 | 0:57:52 | |
# Dae you hear the train whisper | 0:57:55 | 0:57:59 | |
# As the doors slide apart? | 0:57:59 | 0:58:02 | |
# As she's taking you hame | 0:58:02 | 0:58:05 | |
# She should just take ma heart | 0:58:05 | 0:58:09 | |
# Come back, bonnie lassie | 0:58:09 | 0:58:13 | |
# Your boyfriend's pure shite | 0:58:13 | 0:58:17 | |
# And we'll kiss and we'll laugh through the city tonight. # | 0:58:17 | 0:58:24 | |
Uh-huh. | 0:59:02 | 0:59:04 | |
Is he going to use his own drums? | 0:59:05 | 0:59:08 | |
TELEPHONE RINGS | 0:59:08 | 0:59:10 | |
Good afternoon. Barrowland. | 0:59:10 | 0:59:12 | |
It's Aidan Moffat, and I'm not really too sure who he is. | 0:59:12 | 0:59:15 | |
You'll get tickets on the door, sir, yes. | 0:59:15 | 0:59:19 | |
We're an independent company. A family business. | 0:59:21 | 0:59:24 | |
We do the best we can. | 0:59:24 | 0:59:27 | |
And the floor makes it, as well. | 0:59:27 | 0:59:28 | |
If you look at the condition of that floor, | 0:59:28 | 0:59:31 | |
I get rattled when people say... | 0:59:31 | 0:59:33 | |
Maybe a journalist will say something, "sticky floor" or something like that. | 0:59:33 | 0:59:36 | |
I defy you go out and find a sticky spot on that floor just now. | 0:59:36 | 0:59:40 | |
You know, and to think that that floor was laid in 1960 | 0:59:40 | 0:59:44 | |
and it still looks a million dollars. | 0:59:44 | 0:59:47 | |
"Know your history," you said. | 0:59:51 | 0:59:54 | |
Well, there's history here in this ballroom. | 0:59:56 | 0:59:59 | |
Where my grandparents danced the foxtrot | 0:59:59 | 1:00:01 | |
and American GIs stole the local girls. | 1:00:01 | 1:00:05 | |
Destroyed by fire in the late '50s and rebuilt in time for the '60s, | 1:00:07 | 1:00:12 | |
it had fallen out of fashion by the '70s and lay idle | 1:00:12 | 1:00:15 | |
until Simple Minds first used it in 1983. | 1:00:15 | 1:00:19 | |
The first gig I ever went to was here. | 1:00:20 | 1:00:22 | |
David Byrne in 1989, by which time the room was already a legend. | 1:00:22 | 1:00:27 | |
Bowie, Dylan, Blondie, The Kinks, REM, New Order, | 1:00:29 | 1:00:35 | |
The Fall, Nick Cave, PJ Harvey, Oasis, | 1:00:35 | 1:00:39 | |
Public Enemy, The Stone Roses, | 1:00:39 | 1:00:42 | |
Pulp, Grace Jones, Katy Perry. | 1:00:42 | 1:00:45 | |
This room's seen just about everything, Sheila. | 1:00:55 | 1:00:58 | |
But it hadn't seen you. | 1:01:00 | 1:01:03 | |
AIDAN SINGS DURING SOUND CHECK | 1:01:06 | 1:01:09 | |
See under this floor, there's lots of springs, | 1:01:27 | 1:01:29 | |
so when people are on it, it bounces. | 1:01:29 | 1:01:31 | |
Can you see Nessie? Can you see Nessie? | 1:01:36 | 1:01:39 | |
SONG PLAYS ON COMPUTER | 1:01:45 | 1:01:47 | |
Is that him singing, Aidan Moffat? | 1:01:47 | 1:01:49 | |
The music's nice, you know. | 1:01:54 | 1:01:57 | |
I'm going to cut him off. Awful sorry. | 1:02:00 | 1:02:02 | |
No, I'm just... Don't know if I'm a fan, at all. | 1:02:02 | 1:02:06 | |
Thank you for coming to | 1:02:15 | 1:02:17 | |
the last night of the Where You're Meant To Be Tour. | 1:02:17 | 1:02:21 | |
To the lady over there, | 1:02:21 | 1:02:23 | |
I decided against the kilt because I look like a bit of a fanny. | 1:02:23 | 1:02:26 | |
First of all to sing to you, unaccompanied, two guys. | 1:02:26 | 1:02:29 | |
I think they've been tanning the whisky already. | 1:02:29 | 1:02:32 | |
We've got Joe Aitken here and Geordie Murison. | 1:02:32 | 1:02:34 | |
They're going to do you a couple of songs. | 1:02:34 | 1:02:36 | |
CHEERING | 1:02:36 | 1:02:37 | |
Well, Geordie, what are we doing here the night? | 1:02:39 | 1:02:41 | |
I've nae idea, Joe. | 1:02:41 | 1:02:44 | |
I think we're are wee bit out of our comfort zone here. | 1:02:44 | 1:02:47 | |
LAUGHTER | 1:02:47 | 1:02:49 | |
WHOOPING | 1:02:49 | 1:02:50 | |
Right. | 1:02:50 | 1:02:51 | |
# Tae Glasgow town I came one night | 1:02:51 | 1:02:55 | |
# Tae spend my penny fee | 1:02:55 | 1:02:58 | |
# A bonnie lass consented there | 1:02:58 | 1:03:00 | |
# Tae bear me company | 1:03:00 | 1:03:03 | |
# Aye, hoo-hon, lenky-doo Lenky-doodle-eh | 1:03:03 | 1:03:08 | |
# Hoo-hon, lenky-doodle | 1:03:08 | 1:03:10 | |
# Too, rai, eh | 1:03:10 | 1:03:13 | |
# Well, she kent I was a ploughman's chil' | 1:03:13 | 1:03:16 | |
# A stranger tae the toon | 1:03:16 | 1:03:18 | |
# She said that neednae hinder ye | 1:03:18 | 1:03:21 | |
# Tae jog it up and doon | 1:03:21 | 1:03:23 | |
# Ho! | 1:03:23 | 1:03:24 | |
# Aye, hoo-hon, lenky-doo Lenky-doodle-eh | 1:03:24 | 1:03:28 | |
# Hoo-hon, lenky-doodle | 1:03:28 | 1:03:31 | |
# Too, rai, eh | 1:03:31 | 1:03:33 | |
# They took my watch They took my chain | 1:03:33 | 1:03:36 | |
# My spluken and my knife | 1:03:36 | 1:03:38 | |
# It's a wonder that they didnae take | 1:03:38 | 1:03:41 | |
# My wee bit spark a' life... # | 1:03:41 | 1:03:43 | |
Those old ballads warned us about the city. | 1:03:46 | 1:03:49 | |
They saw it as a pit of peril and vice. | 1:03:49 | 1:03:52 | |
But that's why I love it. | 1:03:52 | 1:03:55 | |
The lure of its lights, the secrets around its corners. | 1:03:55 | 1:03:59 | |
Every avenue and new adventure. | 1:03:59 | 1:04:01 | |
Every open door a temptress. | 1:04:01 | 1:04:03 | |
Things happen in the city. | 1:04:06 | 1:04:08 | |
And when I think about your last trip, | 1:04:19 | 1:04:21 | |
I wonder what you saw as you drove through strange streets. | 1:04:21 | 1:04:25 | |
Did you see my world? | 1:04:30 | 1:04:32 | |
Did you hear my language? | 1:04:36 | 1:04:38 | |
So this is a song about gay marriage, | 1:04:46 | 1:04:48 | |
or rather the opposition to gay marriage from gay cardinals. | 1:04:48 | 1:04:52 | |
It's called Ode To O'Brien. | 1:04:54 | 1:04:57 | |
# The cardinal, he wonders where we will all be heading | 1:05:06 | 1:05:11 | |
# Society will crumble if two laddies have a wedding | 1:05:11 | 1:05:18 | |
# But soon the truth was told and now that pious prick has flown | 1:05:18 | 1:05:24 | |
# That fucking fake had many a gay union of his own | 1:05:24 | 1:05:30 | |
WHOOPING | 1:05:30 | 1:05:34 | |
# Some people have a fanny and some people have a cock | 1:05:34 | 1:05:40 | |
# But I'll never understand whit makes some people want tae bowk | 1:05:40 | 1:05:47 | |
# At the need for human beings tae express a wee bit love | 1:05:47 | 1:05:53 | |
# Oh, you'd think that grumpy bastard would be happy up above. # | 1:05:53 | 1:05:59 | |
CHEERING | 1:05:59 | 1:06:01 | |
So this is going to be the last song me and the band play. | 1:06:13 | 1:06:15 | |
It might be the last song we play together in this line-up, | 1:06:15 | 1:06:19 | |
so before we do, thank you. | 1:06:19 | 1:06:21 | |
Ladies first, I do apologise, to Jenny here. | 1:06:21 | 1:06:24 | |
Stevie here. | 1:06:24 | 1:06:26 | |
James and Michael John. | 1:06:26 | 1:06:28 | |
This is called The Parting Song. | 1:06:34 | 1:06:36 | |
The original is actually better, I have to admit that. | 1:06:36 | 1:06:39 | |
Anyway, The Parting Song. | 1:06:39 | 1:06:41 | |
I think Sheila would like to present her side of the story | 1:06:42 | 1:06:47 | |
and do the song the way she thinks... | 1:06:47 | 1:06:52 | |
Or she knows it should be done. | 1:06:52 | 1:06:55 | |
Simple as that. | 1:06:56 | 1:06:59 | |
Aye... She'll be here. | 1:06:59 | 1:07:01 | |
I dinnae think she'll be here. | 1:07:02 | 1:07:04 | |
# Now we've all heard the hits and we know how this ends | 1:07:08 | 1:07:14 | |
# Though once we were lovers we'll never be friends | 1:07:14 | 1:07:20 | |
# As Scott Walker, Nina and Dusty did say | 1:07:20 | 1:07:26 | |
# My world will be empty if you go away | 1:07:26 | 1:07:33 | |
# So here's a health to the company | 1:07:33 | 1:07:36 | |
# Likewise to my lass | 1:07:36 | 1:07:39 | |
# Let's drink and be merry All out of one glass | 1:07:39 | 1:07:45 | |
# Let's drink and be merry | 1:07:45 | 1:07:48 | |
# All grief to refrain | 1:07:48 | 1:07:51 | |
# For we may or might never all meet here again. # | 1:07:51 | 1:07:57 | |
CHEERING | 1:08:20 | 1:08:22 | |
This is the original version! | 1:09:00 | 1:09:03 | |
LAUGHTER | 1:09:03 | 1:09:06 | |
# Oh, kind friends and companions | 1:09:09 | 1:09:13 | |
# Come join me in rhyme | 1:09:13 | 1:09:17 | |
# And lift up your voices in chorus wi' mine | 1:09:17 | 1:09:25 | |
# Let's drink and be merry All grief to refrain | 1:09:25 | 1:09:32 | |
# For we may or might never All meet here again | 1:09:32 | 1:09:42 | |
# Oh, my ship lies in harbour She's ready tae sail... | 1:09:48 | 1:09:55 | |
That's the bit I got wrong. | 1:09:55 | 1:09:56 | |
# God grant her safe voyage without any gale | 1:09:56 | 1:10:05 | |
# And if we should meet again | 1:10:05 | 1:10:08 | |
# Be it land or on sea | 1:10:08 | 1:10:13 | |
# I will always remember | 1:10:13 | 1:10:19 | |
# Your kindness tae me | 1:10:19 | 1:10:24 | |
# So here's a health to the company | 1:10:24 | 1:10:28 | |
# Likewise to my lass | 1:10:28 | 1:10:32 | |
# Let's drink and be merry | 1:10:32 | 1:10:35 | |
# All out of one glass | 1:10:35 | 1:10:39 | |
# Let's drink and be merry | 1:10:39 | 1:10:43 | |
# All grief to refrain | 1:10:43 | 1:10:48 | |
# For we may or might never | 1:10:48 | 1:10:53 | |
# All meet here again. # | 1:10:53 | 1:10:59 | |
Yoo! | 1:10:59 | 1:11:01 | |
CHEERING | 1:11:01 | 1:11:03 | |
Thank you. Thank you. | 1:11:05 | 1:11:07 | |
We never met again. | 1:11:46 | 1:11:48 | |
And I don't know where you've gone. | 1:11:52 | 1:11:54 | |
I can't say where I'm going. | 1:11:56 | 1:11:58 | |
So here's to where we are right now, | 1:12:01 | 1:12:05 | |
to all tomorrow's travels. | 1:12:05 | 1:12:07 | |
And all we leave behind. | 1:12:10 | 1:12:12 | |
# The cocks are crowing | 1:12:16 | 1:12:18 | |
# Love, I must be going | 1:12:18 | 1:12:23 | |
# The cocks are crowing | 1:12:24 | 1:12:27 | |
# Love, I must away | 1:12:27 | 1:12:33 | |
# The cocks are crowing | 1:12:33 | 1:12:37 | |
# Love, I must be going | 1:12:37 | 1:12:43 | |
# For we are both servants and I must obey. # | 1:12:43 | 1:12:52 | |
Right. Get a bit of gaffer tape on it. | 1:13:27 | 1:13:31 | |
Oh! | 1:13:38 | 1:13:40 | |
Oh, I've... It's broken. | 1:13:40 | 1:13:42 | |
Should still be all right, I think. | 1:13:42 | 1:13:45 | |
Right, drop. Go. | 1:13:45 | 1:13:48 | |
Oh. | 1:13:48 | 1:13:50 | |
Ah! It will pull over, though. | 1:13:50 | 1:13:52 | |
Bugger. | 1:13:52 | 1:13:54 | |
Just try and get rid of the wood altogether. | 1:13:54 | 1:13:57 | |
# Somewhere unseen and deep inside | 1:13:57 | 1:14:00 | |
# The lucky sperm and egg collide | 1:14:00 | 1:14:03 | |
# The zygote's little cells divide | 1:14:03 | 1:14:06 | |
# The morula goes for a ride | 1:14:06 | 1:14:09 | |
# This tiny tryst makes blastocyst | 1:14:09 | 1:14:12 | |
# And soon the mind and heart exist | 1:14:12 | 1:14:17 | |
# And then you arrive... # | 1:14:17 | 1:14:20 | |
John, is that yourself? | 1:14:24 | 1:14:27 | |
Robert? Aye, aye. | 1:14:27 | 1:14:29 | |
What you doing here? I came to speak to you, big man. | 1:14:29 | 1:14:33 | |
About what? I want you to back me as king. | 1:14:33 | 1:14:35 | |
I want you to come with me. | 1:14:35 | 1:14:37 | |
Back you as king? Balliol's the king. | 1:14:37 | 1:14:39 | |
Aye. He's a knob, though. | 1:14:39 | 1:14:41 | |
And plenty of people will try and tell you where we came from. | 1:14:49 | 1:14:52 | |
But we can only ever know what we can see. | 1:14:52 | 1:14:56 | |
So tonight, look up to the sky. | 1:14:56 | 1:15:00 | |
There's at least a hundred billion galaxies with a hundred billion stars | 1:15:00 | 1:15:05 | |
and every single one could be a sun just like ours. | 1:15:05 | 1:15:10 | |
You see, we're all just links in a chain and all life is finite. | 1:15:12 | 1:15:18 | |
Ah, you bastard! | 1:15:18 | 1:15:20 | |
Oh, we've knocked the table down. Sorry. | 1:15:22 | 1:15:25 | |
Bruce! Oh, aye. What you doing, man? | 1:15:25 | 1:15:27 | |
I just wasted these two guys. Are you sure? | 1:15:27 | 1:15:30 | |
Not quite, no. | 1:15:30 | 1:15:33 | |
Take that. Go to Scone. | 1:15:33 | 1:15:36 | |
I've got my own. What time's the train? | 1:15:36 | 1:15:40 | |
So use your time wisely, look after your teeth, | 1:15:40 | 1:15:45 | |
and try not to hurt anyone. | 1:15:45 | 1:15:48 | |
And remember - we invented love. | 1:15:48 | 1:15:52 | |
And that's the greatest story ever told. | 1:15:54 | 1:15:57 | |
So what kind of material do you sing, then? | 1:16:00 | 1:16:02 | |
Indie music? Kind of, aye. | 1:16:02 | 1:16:05 | |
I dinnae ken what indie music is, though. | 1:16:05 | 1:16:07 | |
I thought it had come fi' India. | 1:16:07 | 1:16:09 | |
The idea of having hot running water and inside toilets - | 1:16:20 | 1:16:22 | |
you know, it was really exciting. | 1:16:22 | 1:16:24 | |
Growing Up In Scotland continues... | 1:16:24 | 1:16:26 |