Capercaillie @ 30


Capercaillie @ 30

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Moran taing, agus oidhche mhath.

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Since their formation 30 years ago, Capercaillie have become

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one of the most influential bands in Scottish traditional music.

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They have taken their music all over the world,

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influenced a new generation of musicians,

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and broadened the appeal and awareness

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of Gaelic culture immeasurably.

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They've sold over a million albums,

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had the first Gaelic song in the UK top 40,

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and have provided music for numerous TV series,

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and even Hollywood movies.

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You always try and go on a journey, musically,

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try and find places you haven't been,

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and, certainly, that's always true of a Capercaillie record.

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I think when we started this journey,

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I thought we were just on some wee tirravie, you know,

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and it would come to an end.

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I thought, you know, we're just having some fun here, this is great.

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The ingredients that go into the cake that is Capercaillie

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are just stunning.

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Donald always had his musical colours nailed to the mast

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in that it was identifiably Scottish music.

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I think we broke up once...

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..and then we went out and had a session and reformed.

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Thank you, Stornoway!

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SHE SINGS

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ACCORDION ACCOMPANIES

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When they first took to the stage in Taynuilt, husband and wife duo

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Donald Shaw and Karen Matheson could never have imaged what lay ahead.

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I want to find out if this piano still works

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Oh, aye.

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Because this piano was there the very first time

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we played Capercaillie,

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and I remember Joany had to tune the fiddle up to even get close to it.

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Is that when you lost your temper at me and Shuna

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and stamped on your flute?

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-I would never do that.

-On your whistle?

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You did, cos we started giggling in the middle of it,

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and you took your whistle out your mouth and stamped on it in a rage.

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Are you saying I take things too seriously?

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SHE LAUGHS

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Nothing's ever changed!

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Let's see what this is like.

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HE PLAYS THE PIANO

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Ah, beautiful!

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SHE BEGINS TO SING

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Amazing!

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Ha! Gorgeous!

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Last time I played this was Hogmanay, Millennium Hogmanay.

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-And...

-Ah, it was.

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I ended up in a fight with a banjo player,

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which was not for the first time.

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That's right, I remember it.

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And, actually, we were here for your parent's anniversary party.

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Yeah, but you wouldn't have been here the first time

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that Capercaillie played here.

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What?! You mean there was life before me?

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That's when we were the real cult status of the instrumental line-up,

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but the first time we played here was with Martin and Joany and Shaun

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at the Ceilidh, and I don't think

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they liked us very much, actually.

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-Too loud?

-Well, too many chords.

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Even in the band's early days in the '80s,

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they were not afraid to follow their own musical path,

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but they were very much out on their own with their sympathetic

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but contemporary arrangement of traditional Gaelic songs.

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What's different about 20-30 years ago is the whole scene's changed

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and it's really vibrant and there's hundreds of bands

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out there playing traditional music.

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'I'd like to think that we were always quite cautious with

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'what we did with the material, that we did treat it with respect'

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cos it is a very precious commodity that we're working with.

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We've always been very aware of that.

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Capercaillie has seen a number of line-up changes

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since Donald and Karen formed the group in Oban High School.

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Let's just try the first verse for a second.

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The current band are in the studio putting the finishing touches

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to their new album, The Heart Of It All.

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It's been five years since the band's last album, Roses and Tears,

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and this new album features the band's trademark arrangements

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of traditional Gaelic song.

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What we really wanted to do was just get down to the basics

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of the songs, a lot of these songs are very old,

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very traditional, and get down to the source of the song

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and trying and make it work best for Karen to perform.

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You cannot go out and play the same music over and over again.

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You have to go into the studio every couple of years and make new music.

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SHE SINGS

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'You feel like the song sometimes is actually coming through you,'

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you're just a vehicle for this thing that's happening,

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this amazing, especially with Gaelic music, this amazing thing

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that happens to you and you're just giving it out to the people.

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Music was all around a young Donald growing up in Taynuilt,

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ten miles south of Oban.

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Parents Paddy and Libby were a big influence

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with his father's love of the accordion having it's effect.

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Neither father nor son have lost any of their enthusiasm

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for the instrument, as Donald shows off his new box.

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Probably about the same weight as the....

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HE PLAYS

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Donald's parents continue to play in a dance band,

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with Paddy on the box and his wife on piano.

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Libby was a driving force behind the early beginnings of Capercaillie

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when she realised Donald's first band, The Etives,

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required a good vocalist.

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I felt that it would be a really nice thing to do

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with my eldest daughter, Shuna, and Donald,

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and the obvious answer to me was to get Karen

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cos she had the most beautiful voice in Taynuilt.

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You were just driving, were you?

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Maybe not then.

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Don't know that you were. Donald certainly wasn't cos he was only 13.

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It was difficult getting a double bass in the car, anyway.

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Very difficult. It was great fun, probably, for me.

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Got you two together!

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Oh dear!

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-It was great fun for us, too.

-It was awesome, it was great.

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This is when we had our first group, The Etives,

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and this is where the iconic photo...

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You were just about where that cowpat was, right there,

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and there was my sister, Shuna, who played the fiddle,

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and Andrew Campbell on the bass,

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and we were just stood looking windswept and interesting

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-with kilts on.

-We all wore kilts.

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-Please, make the pose.

-And matching blue shirts.

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Actually, I was like this, cos I was playing the guitar.

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Oh, yeah, that's right, yeah.

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Of a fashion!

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It's a bit like those iconic covers, you know,

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like Sergeant Peppers or The Joshua Tree by U2,

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it's much the same.

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We did a couple of summer seasons in Oban

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playing for the tourists and stuff like that.

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£12 - that's what we got paid. That was our best fee.

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You were quite good on the two chords that you knew.

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I played the penny whistle.

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Andrew had a double bass with three strings, and, eh...

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You sang The Crystal Chandeliers you actually sang!

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Yeah, that's a collector's piece of music.

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-Your voice hadn't broken.

-All right, all right.

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Don't need to talk about that.

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# Oh, the crystal chandeliers

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# Light up the paintings on your wall... #

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The band has played all over the world,

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has built up a considerable body of work,

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and they're always pushing their music forward

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and never rest on their laurels.

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-We're always sitting in the house, aren't we?

-Always.

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Listen to our records with a glass of wine.

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"Let's listen to that record again. Oh, you were great there."

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No, we never listen to our...

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I don't even know the names of the records we've made.

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So, Karen, I have here five long playing records,

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otherwise known as vinyl,

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that chart the early history of Capercaillie.

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The test for you this very moment is to put them in order of release.

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I want to see how much you remember correctly about this band.

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-You have got to be joking.

-Put them in order of release.

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-Surely you can get that right.

-I could go by the hair, maybe.

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And that's not mine, that's just Manus's.

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Right, let me see now.

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OK, I know that's the first one.

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-Right, Cascade.

-I'm wearing the same top.

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Oh, Lord, the fashion comes back round again.

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It does, if you wait long enough.

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And then...

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-Crosswinds.

-That's going well.

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And then, Capercaillie...

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Delirium?

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No, you're miles away.

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Oh, no, Sidewalk, of course, yes indeed.

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-And then Delirium.

-Yep.

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-And then Secret People. Pretty good.

-Not bad.

-Only got one wrong.

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In the 1970s, the folk music scene

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in Scotland and Ireland was changing.

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Arguably, Ireland was leading this change, with bands like Planxty

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adding driving rhythms and slick arrangements to the old tunes.

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But in Scotland, outfits like Ossian and Boys of the Lough

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were also creating a more contemporary sound.

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Of particular influence to the young Capercaillie were the band

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fronted by brothers Phil and Johnny Cunningham.

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Silly Wizard were a high-octane, trad music powerhouse

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that attracted a new and younger audience to the music.

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It all felt very organic at the time.

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There were a lot of bands trying to do the same thing,

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and all taking it in their own direction.

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I mean I remember having some

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quite specific plans at one point,

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very sure of where I wanted to go until the following week,

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and it would change again,

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and then I was very sure where I wanted to go,

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and then it would change again.

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WOMEN SINGING

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Flora MacNeil was a key influence on Karen.

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The recording of Flora's first album marked an important sea change

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on how Gaelic music was heard.

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Moving away from the orchestral-based arrangements

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that had prevailed in the '50s and '60s,

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this was Gaelic song in it's purest form.

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Another band, Na h-Oganaich, had realised if they could broaden

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the appeal of Gaelic song with more modern arrangements

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they could find a fresh audience for the music.

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Na h-Oganaich were a huge inspiration at the time,

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at that stage when we were teenagers,

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because they were using Gaelic songs and making them...

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And they were cool, they were folky and hip,

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not the way we'd been presented them before,

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so we used to listen to a lot of that.

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The new album is now recorded

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and it's time to take to the road for some live gigs.

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The first destination is Stornoway for the HebCelt Festival.

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But taking to the stage in front of an expectant audience

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still has an affect on some band members.

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Quite nervous, but excited, as well.

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The atmosphere's always just electric at these things

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and you get off on that and you go with that. It's great.

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I do get nervous, so I'm a bit nervous just now

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but it's good for you, you know, it keeps you on your toes.

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A wee bit of adrenalin is a good thing, I think.

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Capercaillie are making a welcome return to HebCelt,

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and playing to a Gaelic audience is something they always savour.

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It's a real honour to come and play at this festival and to be seen

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as a headline act, because they've had some great acts over the years.

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It's very much for us about taking the music back to the people.

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American singer-songwriter Darryl Scott

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will be joining them on stage this evening.

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I suppose it's strange, someone like Darryl Scott

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is more a transatlantic type guest.

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For Capercaillie, for years we used to tour America,

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so that's just a touch of that with Darryl.

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Collaboration has always been important to Capercaillie,

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and whatever line-up or venue, one thing always remains constant -

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their musicality and sensitive arrangements

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of other musicians' material.

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# And I bet they danced them a jig

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# And they laughed and sang a new song

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# Who said we'd never leave Harlan alive? #

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Donald, you know and the group,

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I mean, they're great. And Donald know what he's...

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He's such a great music director when he's in that role,

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or band leader when he's in that role, or arranger.

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So, you know, when he called to see if I'd do a number with him,

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he knew the number, he already knew the key it was in,

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he'd probably already practiced it.

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In the last few years we have been playing as a six-piece, as well,

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which would involve myself, Charlie, Donald and Karen,

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plus two others maybe Michael McGoldrick, and Ewen, of course.

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That's for acoustic venues, which we are doing a bit more of now,

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but I have to say the big....

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I think we all prefer the eight-piece.

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Playing to audiences of that size would have been an unlikely prospect

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back in the mid 1980s, when a young Capercaillie

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were still making their first roots.

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But the young Donald Shaw always knew there was huge potential

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in what they were doing.

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Donald always had a passion and a vision, I think,

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for what Capercaillie could achieve.

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He was always driven.

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Right from the first day I met him, I could see,

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I mean that was part of the charm, if you like,

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that he had so much energy and enthusiasm

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for what he was doing, for music.

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He brought that energy to me because for me it was just, as I say,

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the early years for me I was kind of dragged round ceilidhs

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singing by my father, and I really didn't enjoy it at all.

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It was terrifying, nerve-wracking and I would have looked for an escape.

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But Donald brought something to that for me.

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He brought it to life for me.

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You know, he made me see it through different eyes

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that actually there was something really exciting going on here.

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In 1983, the band put down their tracks for their first album,

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Cascade, but it didn't come easy to Karen.

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The first few years of Capercaillie I just found it utterly terrifying,

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and that would go right back to my school days when I started singing.

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I would have this fear I would go on to sing

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and I would burst into tears.

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And it took me a long time to shake that off,

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to be confident enough to stand up and perform in public,

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and I could never really believe that anybody would want

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to hear me singing, because I never really thought

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that I was doing anything different to anybody else.

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I mean, I group up with singers in the village.

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All my friends sang, as well,

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it's not like I felt like I was any different.

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I just maybe had more opportunities.

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The maturity of their arrangements belied their youth,

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and it was clear from the outset they had something very special.

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But at that point a career in traditional music

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seemed like a pipe dream.

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The very idea that you would go on and making a living from that

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was pretty daft.

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You would never have thought that at the time.

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No, I don't think so, no.

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We pretty much had college courses on hold for a couple of years.

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We'll do this, then it will be a disaster

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and then we'll go to college.

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On the back of that first album,

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radio and TV appearances soon followed,

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and in 1985 they toured Canada

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with new member Charlie McKerron on fiddle.

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I had left school at that point, gone to Glasgow

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and done a secretarial course, gone back to Oban and started

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working in community education,

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and that was just at the stage that Donald was leaving school

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and had been accepted for various universities.

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Charlie had just left university having done a biology degree.

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We were all just on that cusp of will we settle down

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and do something sensible or will we just throw caution to the wind?

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Follow me, it's down here.

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Oh, Lordy. Right, he says...

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He SAYS it's down here.

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It's like a platform where we stood and there's a section down here.

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It was in 1996 I believe.

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1946.

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I don't know how he remembers, he remembers everything.

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It's that thing there.

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That one.

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This one?

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The trees have also grown up behind, look.

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Can't see a thing.

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MUSIC: "Am Buachaille Ban" by Capercaillie

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Despite their early success, there were still traditionalists

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who didn't approve of the band's musical direction.

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I think there was a little bit of, you know...

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it was kind of sacrilege that I was using synthesisers

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with old Gaelic songs.

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But it never really bothered us.

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It wasn't something that was...a big deal.

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I think people were always very supportive,

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they could see that we were trying.

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We weren't messing with the music, as such,

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we were trying to make it.

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Actually, we weren't trying to do anything

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we were doing what excited us.

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Certainly in a contemporary way, you know,

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Runrig would have paved the way for that, kind of, you know,

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full-on rock treatment of songs,

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so I don't think we were ever worried about what people thought

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about what we did.

0:22:040:22:05

We were always more acoustic anyway.

0:22:050:22:07

Since their beginnings, Capercaillie have always delved deep

0:22:090:22:12

into the Gaelic song tradition.

0:22:120:22:14

This involved frequent visits to the school of Scottish Studies

0:22:150:22:18

to listen to their precious archive field recordings

0:22:180:22:21

and this resource still plays an important role,

0:22:210:22:23

but in some ways times have changed.

0:22:230:22:26

It's easier to find material because there's thousands of hours

0:22:260:22:30

of Gaelic songs that have been digitised now.

0:22:300:22:33

So you have something like Tobair an Dualchais,

0:22:340:22:37

which has digitised recordings from the School of Scottish Studies

0:22:370:22:44

from the last 50 years.

0:22:440:22:47

And in some collections alone there might be

0:22:470:22:49

20 or 30,000 hours of songs.

0:22:490:22:52

The late '80s saw the Irish influence continue

0:22:560:22:58

with the additional of bouzouki player Manus Lunny.

0:22:580:23:01

Well, I happened to be working with Scottish musicians,

0:23:020:23:06

Phil Cunningham and Andy M Stewart from Silly Wizard.

0:23:060:23:10

I got a call one day wondering if I would do a tour in the US,

0:23:140:23:18

that was in late 1988,

0:23:180:23:21

and I did the tour and that was it, I've been with them since.

0:23:210:23:26

I actually said to Donald at the time, "I'll do it"

0:23:340:23:36

cos I had just bought a sitar.

0:23:360:23:38

"I'll do it, I'll join Capercaillie. Come on, gie's a job"

0:23:380:23:41

He said "No."

0:23:410:23:42

MUSIC: "Fear A Bhata" by Capercaillie

0:23:450:23:48

There was a thing called The Blood Is Strong,

0:23:530:23:55

which was a documentary series

0:23:550:23:58

they did the soundtrack to that.

0:23:580:24:00

So they were filtering into your psyche

0:24:000:24:03

slowly but very surely at that point.

0:24:030:24:05

While Capercaillie were finding new markets for their music,

0:24:100:24:13

traditional Irish bands like Clannad were heading for mainstream success.

0:24:130:24:18

Ireland was an important signpost

0:24:180:24:20

for the burgeoning scene in Scotland.

0:24:200:24:22

I was watching what was happening in Ireland with great interest

0:24:220:24:25

and listening to the Bothy Band

0:24:250:24:26

and the things that Donal Lunny was doing.

0:24:260:24:28

The rhythms, the accompaniment, were changing -

0:24:280:24:31

the way that people were accompanying melodies.

0:24:310:24:34

The speed was knocking up a notch.

0:24:340:24:37

It was all about entertainment and getting the audience on side.

0:24:370:24:40

Lots of people who listened to pop music

0:24:560:24:58

and rock music and jazz and whatever else -

0:24:580:25:01

listening to an uilleann piper playing slow air

0:25:010:25:04

with nothing else happening was just too much.

0:25:040:25:07

CHEERING AND APPLAUSE

0:25:160:25:17

There was nothing really like that coming out of here.

0:25:170:25:20

The Irish musicians were much more advanced

0:25:200:25:23

and we were excited by what they were doing.

0:25:230:25:26

MUSIC: "Theme From Harry's Game" by Clannad

0:25:260:25:28

In 1982 Clannad, fully embracing the electronic sounds of that time,

0:25:310:25:36

released the Theme From Harry's Game

0:25:360:25:38

reaching number five in the UK Charts.

0:25:380:25:40

Proof that with the right approach to traditional music and Gaelic song

0:25:490:25:53

wider commercial success was possible.

0:25:530:25:55

At the same time as Capercaillie

0:26:120:26:14

were sharing their new take on Gaelic song

0:26:140:26:16

with new and broader audiences,

0:26:160:26:18

Irish band Affan were having the similar success

0:26:180:26:20

with music from native Donegal tradition.

0:26:200:26:23

Singer and Fiddler Mairead Ni Mhoanaigh

0:26:230:26:25

recognised the parallel paths the band were taking.

0:26:250:26:28

I remember the first time I heard you with Capercaillie

0:26:280:26:32

was at the Edinburgh Festival or at the Glasgow Folk Festival years ago.

0:26:320:26:37

That might have been it.

0:26:370:26:39

But it was brilliant because it was something similar.

0:26:390:26:42

You were doing something parallel to ourselves.

0:26:420:26:45

We were acoustic and you were more rock'n'roll.

0:26:450:26:47

You were youthful people.

0:26:470:26:49

Then Karen was singing in Gaelic and I was singing in Gaelige,

0:26:490:26:52

so we had a lot in common.

0:26:520:26:54

We were trying to find a wider audience

0:26:540:26:57

that never heard this music before without compromising too much.

0:26:570:27:00

SHE SINGS

0:27:020:27:03

The next stage of Capercaillie's musical development

0:27:060:27:09

was to see them reach incredible heights,

0:27:090:27:12

and one man in particular was to play an important role

0:27:120:27:15

in producing the sound of their next three albums

0:27:150:27:17

and the success that was to follow.

0:27:170:27:20

Manus's brother, the legendary Donal Lunny.

0:27:220:27:25

Donal was seen to be the perfect producer for the album

0:27:390:27:42

that would become Sidewalk,

0:27:420:27:43

having had huge success with artists such as The Bothy Band,

0:27:430:27:47

Planxty, Moving Hearts and Christy Moore.

0:27:470:27:50

When a producer was mentioned,

0:27:500:27:52

people were sort of expecting me to say your name

0:27:520:27:54

and they were sort of glad to hear that I suggested your name

0:27:540:27:58

because it was an obvious choice, really.

0:27:580:28:01

My function with Capercaillie was as, I mean,

0:28:050:28:10

a sort of glorified quality control would be what it was,

0:28:100:28:14

because everybody knew what they were doing.

0:28:140:28:17

It worked very well in general.

0:28:190:28:21

We didn't have any, what would you say, differences.

0:28:230:28:26

There was one instance where I just couldn't see what you were doing

0:28:290:28:33

in terms of the piece but you begged to differ.

0:28:330:28:36

I don't remember that!

0:28:390:28:40

There was a bit of a standoff.

0:28:400:28:42

You mean it sounded too good, is that it?

0:28:420:28:44

It was just awful!

0:28:440:28:46

SHE SINGS

0:28:510:28:52

The next album was to have an even bigger impact than Sidewalk.

0:29:020:29:05

And for the first time a Gaelic song was to make it

0:29:340:29:36

into the UK singles chart.

0:29:360:29:38

There was a single off Delirium - Coisich A Ruin

0:29:380:29:43

that went into the charts.

0:29:430:29:44

We were asked to do some music for a TV documentary

0:29:530:29:57

about Prince Charles going to hang out in Berneray.

0:29:570:30:01

And they released a...

0:30:020:30:08

CD of the music that

0:30:080:30:11

we did for it but they put

0:30:110:30:13

Coisich a Ruin on it as well as a lead track.

0:30:130:30:16

THEY SING IN GAELIC

0:30:160:30:19

It got in the Top 40, didn't it?

0:30:210:30:23

It did. That's how it happened.

0:30:230:30:25

Number 39.

0:30:250:30:27

There was a couple of articles in the papers saying that we'd

0:30:330:30:36

sold out in the sense that it looked like we were trying to

0:30:360:30:41

commercialise the music with grooves or electronic synth sounds or

0:30:410:30:47

whatever. And I always thought it was the opposite. I always

0:30:470:30:51

thought, well, selling out to me would be making the same record

0:30:510:30:56

every two years for the rest of our lives, just a traditional record

0:30:560:30:58

because for me it was always about moving on and trying new things.

0:30:580:31:03

The band's musical arrangement continued to break new ground,

0:31:120:31:16

placing Gaelic music in a contemporary context.

0:31:160:31:18

The use of keyboards to create a bigger, more lush sound. Donald

0:31:200:31:24

was always very good at sculpting that kind of thing

0:31:240:31:27

and the arrangements were always very, very thoughtful.

0:31:270:31:29

SHE SINGS IN GAELIC

0:31:290:31:31

It was very compelling because it was new

0:31:390:31:42

and it had never been heard in that kind of way before and it wasn't

0:31:420:31:45

straight ahead like folk rock. It was far removed from that.

0:31:450:31:50

I think that Donald had a vision from the very beginning

0:31:560:32:00

and such a qualified and capable musician anyway which was

0:32:000:32:05

reflected in the music that Capercaillie put together.

0:32:050:32:08

I don't think anything has sold more than Delirium. That was what

0:32:130:32:16

brought us into the mainstream.

0:32:160:32:19

Following the success of Delirium, demand for the band gathered pace.

0:32:310:32:35

The venues got bigger, as did the audiences.

0:32:350:32:38

Touring continued in Europe, the Middle East

0:32:380:32:40

and Northern America, as Capercaillie spread their sound wider and wider.

0:32:400:32:44

I have to say that I still hear bands playing music in a way

0:32:530:32:59

that obviously reflects the influence of Capercaillie.

0:32:590:33:02

It's all over the place.

0:33:020:33:04

# Welcome, Mother Nature

0:33:060:33:08

# Welcome to... #

0:33:080:33:10

Despite their success,

0:33:100:33:12

certain aspects don't sit comfortably for Karen.

0:33:120:33:15

I've never felt comfortable being a spokesperson. The singing

0:33:150:33:19

part was fine, you know, because I was within a certain comfort zone

0:33:190:33:23

that I could be.

0:33:230:33:25

But interviews, things like that I've never

0:33:290:33:31

been comfortable with or even photographs.

0:33:310:33:34

It just wasn't something I ever imagined I would end up doing.

0:33:340:33:39

APPLAUSE

0:33:440:33:46

To finish the show another number from their new album Secret People.

0:33:460:33:49

This one's called Four Stone Walls. Ladies and Gentlemen, Capercaillie.

0:33:490:33:55

The third album produced by Donal Lunny, Secret People,

0:33:570:34:00

entered the album charts and further affirmed the band's

0:34:000:34:03

position as the preeminent force in contemporary traditional music.

0:34:030:34:07

# We are born of ancient family

0:34:070:34:10

# Living here all our days

0:34:100:34:12

# And though we love our scenery

0:34:120:34:15

# Wouldn't we just love somewhere to stay?

0:34:150:34:18

# It's an order for eviction

0:34:200:34:22

# And I can't believe I'm seeing what I see

0:34:220:34:27

# If it kills I will surround myself

0:34:280:34:31

# With four stone walls

0:34:310:34:33

# A little pride upon the shelf

0:34:340:34:36

# And four stone walls around me. #

0:34:360:34:40

I feel like I spent the first ten years of Capercaillie in quite

0:34:410:34:46

an unhappy place because I was so nervous and tense and once

0:34:460:34:53

you shake that off... After the first 20 years it gets really good!

0:34:530:34:58

In January 1994 the sense of a growing confidence in our own

0:35:020:35:06

culture and the appetite for live performances by bands like Capercaillie

0:35:060:35:09

led to the establishment of a winter music festival in Glasgow

0:35:090:35:13

and Celtic Connections was born.

0:35:130:35:15

Donald Shaw took over as festival director in 2007

0:35:200:35:24

and is steering the festival in a very exciting direction, applying

0:35:240:35:28

the same ambition to this role as has been his trademark

0:35:280:35:30

throughout his career.

0:35:300:35:31

The festival has grown year on year

0:35:360:35:38

and the programming has continued to diversify and create musical

0:35:380:35:41

connections from all corners of the folk world, and far beyond.

0:35:410:35:45

But it never forgets it's roots

0:35:520:35:54

and still provides a concert platform to the very best of the Trad Music Scene.

0:35:540:35:58

Passing on the music to the next generation is key to

0:36:270:36:30

the continuing the strength of any tradition.

0:36:300:36:32

Hiya, how you doing?

0:36:320:36:34

And Charlie McKerron takes this aspect very seriously.

0:36:340:36:38

One, two.

0:36:410:36:43

In July 2013, he set up his first fiddle camp near Aviemore.

0:36:430:36:48

Times have really changed for young people... Scope for learning

0:36:480:36:53

and various things from Feis to events like this.

0:36:530:36:56

I think at the end of the day what I'm about is I just like to try and

0:37:000:37:04

be as musical as I can and I try to create that in the classes as well.

0:37:040:37:08

He's well known, well respected.

0:37:170:37:19

You know even in the Irish music world people would know

0:37:190:37:21

Charlie McKerron and would be influenced by his playing.

0:37:210:37:26

Offering a real breadth to the eager students,

0:37:290:37:31

Sharat Srivastava is holding a class in Indian classical violin.

0:37:310:37:36

For me, you know, Charlie is like my brother and I've always seen a

0:37:360:37:39

child in Charlie who is always keen to learn something new every day.

0:37:390:37:43

Starting around the same time as Capercaillie,

0:37:460:37:48

the Feisean movement has provided an exciting platform for traditional music.

0:37:480:37:52

That's been, for me, the single biggest

0:37:520:37:55

catalyst for the renaissance of traditional music in the last

0:37:550:38:00

30 years. Whatever way you look at it because through the youth it's

0:38:000:38:07

given people a sense of confidence and pride in their music and songs.

0:38:070:38:13

We were fortunate when we started out that there was a

0:38:130:38:17

lot of interest in the community that we grew up in, ie

0:38:170:38:20

the school, but I think that was quite unique, you know? I don't think

0:38:200:38:23

there were quite the opportunities then that there are now.

0:38:230:38:26

The beauty of now is the Feisean movement, it has progressed

0:38:260:38:29

so much over the last 30 years that we've been doing it.

0:38:290:38:33

We've been running a project

0:38:350:38:37

Feisean Nan Gaidheal for a number of years

0:38:370:38:39

now called Ceilidh Tours where young people get the opportunity to have a

0:38:390:38:43

few weeks training and they want to do something with someone well known

0:38:430:38:47

so we got in touch with Karen and we're very happy that she agreed to

0:38:470:38:51

appear with them tonight so they're really looking forward to it.

0:38:510:38:54

I've grown up listening to Capercaillie music. That was

0:38:540:38:58

the first traditional band I was exposed to as a child.

0:38:580:39:01

We're by no means professionals but playing with

0:39:010:39:04

someone that is going to be, well, it's probably invaluable.

0:39:040:39:08

It's one of the things that is

0:39:080:39:09

so great about the Feis is that it gives you the opportunity to

0:39:090:39:12

not only learn more about the music and the language

0:39:120:39:14

but then giving you the opportunity to learn about performing.

0:39:140:39:17

Having 6,000 young people being part of Feisean every year and

0:39:220:39:25

even if a small number of those go on to be professional musicians then

0:39:250:39:30

that's still making an important contribution to Scotland's culture.

0:39:300:39:34

I've said this before,

0:39:340:39:37

30 years ago going to

0:39:370:39:39

Oban High School down there I would have made

0:39:390:39:44

an attempt to hide my accordion going into school for fear of ridicule.

0:39:440:39:50

Now it's strange if you don't go into school without

0:39:500:39:53

an accordion or a fiddle or a clarsach.

0:39:530:39:55

With encouragement like this, these young people could be

0:40:040:40:07

the next generation to export Scottish music around the world.

0:40:070:40:10

Esta cancion se cantabab mientras trabajaba en la isla Barra.

0:40:140:40:20

We used to tour in the States but it was prohibitively expensive

0:40:250:40:29

getting a band our size out,

0:40:290:40:32

so that sort of petered out a bit in the mid '90s,

0:40:320:40:36

but now we tour a lot in Europe,

0:40:360:40:40

and our Spanish audience is fantastic.

0:40:400:40:43

The '90s saw a couple of line-up changes.

0:41:100:41:12

Ewen Vernal, who had played bass with Deacon Blue, joined,

0:41:120:41:15

along with an exciting young piper and whistle player

0:41:150:41:18

Michael McGoldrick.

0:41:180:41:20

It's great to be in a band

0:41:200:41:21

with the musicianship of Capercaillie, really, for me,

0:41:210:41:24

because I have learnt a lot, as well as touring.

0:41:240:41:26

They were going 15 years before I came along.

0:41:260:41:29

When Mike first started working with Capercaillie,

0:41:360:41:38

I remember him coming back to Manchester

0:41:380:41:40

and he had a little change in the way he was lilting the tunes.

0:41:400:41:43

Instead of going daddily-didily, as we would in Irish,

0:41:430:41:47

he was giving it more of a hi-diddy-ho!

0:41:470:41:50

We could feel the Scottish influence was seeping in there.

0:41:500:41:54

August 2013, and the band make a return visit

0:42:320:42:35

to the famous Festival Interceltique in Lorient, Brittany.

0:42:350:42:39

We're very delighted to be here celebrating our 30th anniversary.

0:42:390:42:44

The festival has been a big influence to us over the years.

0:42:440:42:48

You meet these bands around the States and around Europe

0:42:480:42:52

and you meet up and play some music.

0:42:520:42:55

The band has suffered broken limbs at this festival.

0:42:590:43:02

Not naming any names.

0:43:030:43:05

Initials only... Charlie McKerron.

0:43:050:43:07

That's that whole thing of having a couple of pints before you

0:43:070:43:10

go on stage just to get rid of the nerves,

0:43:100:43:13

but, in Lorient, sometimes the gigs are delayed

0:43:130:43:16

by as much as an hour and that can be catastrophic.

0:43:160:43:19

I think if you're part of a band like this where there's eight people

0:43:230:43:28

and everyone has quite strong musical personalities,

0:43:280:43:34

I think it only functions if you think of yourself

0:43:340:43:36

as part of a bigger picture.

0:43:360:43:39

It's about keeping your ears open,

0:43:390:43:41

listening to what everyone else is doing.

0:43:410:43:43

I decided there was an important part for Chimp, our percussionist,

0:43:490:43:53

to do in one of the sets of tunes, so I just left him a message.

0:43:530:43:57

I feel so close to them. They are very important to me.

0:44:120:44:16

They know about our music,

0:44:160:44:18

we know about their music,

0:44:180:44:20

and there's mutual respect,

0:44:200:44:22

and, in that mutual respect, everything is possible.

0:44:220:44:26

It's definitely more than music,

0:44:330:44:34

because there's not only the music,

0:44:340:44:36

there is something behind the music.

0:44:360:44:38

This is a big moment, like an alien leaving the ship.

0:44:410:44:47

It's it quarter to nine, local?

0:44:470:44:50

It's quarter to nine.

0:44:500:44:52

Generally, there will be a core set list,

0:44:570:45:00

and if we have to shift, we can.

0:45:000:45:03

We can do that again on stage.

0:45:030:45:05

Just a look, a word, a raised hand...

0:45:050:45:11

Communication, when you've been together as long as us,

0:45:110:45:14

it doesn't take much... Communication is pretty key.

0:45:140:45:17

That lettering is a bit large for me on the stage.

0:45:180:45:22

So you want it a little bit...

0:45:220:45:23

-What do you reckon? Like 12?

-Really, really small.

0:45:230:45:26

I'll go back to my computer and spend an hour doing that.

0:45:260:45:28

-Minimise it.

-What size do you want?

0:45:280:45:30

-I can do different...

-Also a bit smaller than that...

0:45:300:45:33

Probably better doing it in braille.

0:45:330:45:35

Or in a foreign language.

0:45:350:45:38

-Good. Good job.

-The whole thing is a foreign language.

0:45:380:45:42

There's a camaraderie that goes on, on stage as well as off,

0:45:470:45:50

that's really quite special.

0:45:500:45:56

And I think, if that ever died,

0:45:560:45:59

then that would be the reason to stop.

0:45:590:46:02

The festival celebrates the musical and cultural links

0:46:050:46:09

between the Celtic nations of Scotland, Ireland, Wales,

0:46:090:46:11

The Isle of Man, Northern Spain and, of course, Brittany.

0:46:110:46:15

Wow, enjoyable! Great!

0:46:360:46:39

Superb! Good! I'm so pleased.

0:46:390:46:41

With such a long musical association,

0:46:430:46:45

Lorient audiences have a special place in their hearts

0:46:450:46:48

for Capercaille.

0:46:480:46:50

1995 was another landmark year for the band

0:46:580:47:00

when they were invited to sing on the soundtrack

0:47:000:47:03

to blockbuster movie Rob Roy.

0:47:030:47:05

Despite the allure of Hollywood, the music the band provided

0:47:090:47:13

remained true to their roots.

0:47:130:47:15

It was very exciting.

0:47:150:47:17

I mean, obviously, being in a Winnebago beside Liam Neeson

0:47:170:47:22

and Jessica Laing, that was absolutely thrilling.

0:47:220:47:26

Ancient Gaelic song

0:47:300:47:32

providing a fitting cultural context to the tale of Rob Roy.

0:47:320:47:36

What's very much at the heart of Capercaillie, I think,

0:47:360:47:38

is just the music and the craic that we have when we're doing it,

0:47:380:47:44

and that's what's kept us doing it.

0:47:440:47:46

Not the accolades or...

0:47:460:47:48

You know, it's very simple and straightforward.

0:47:480:47:53

After just a few hours sleep in Lorient,

0:47:560:47:58

the summer tour continues, as a tired bunch head for Devon

0:47:580:48:02

and the Sidmouth Folk Festival.

0:48:020:48:05

More miles notched up on their summer festival tour.

0:48:050:48:09

This is great, isn't it?

0:48:150:48:18

I think we're pretty tight on this side here.

0:48:240:48:26

The popular seaside town has staged the festival every year since 1955.

0:48:290:48:33

It is a very community based event,

0:48:330:48:35

and locals and holiday makers come together to enjoy the festivities.

0:48:350:48:39

Look at that! He's got about four foot on his left-hand side!

0:48:490:48:53

-He's got loads of room.

-Arse.

0:48:530:48:57

Here, we really are at the heart of the English folk scene.

0:48:570:49:01

Negative of me to say that the band could struggle...

0:49:010:49:04

Of course, they won't struggle,

0:49:040:49:06

but it will be a challenging audience for them, that's for sure.

0:49:060:49:09

You're never 100% sure how you're going to go down.

0:49:310:49:33

And you can usually tell within the first 10 or 15 minutes

0:49:330:49:36

if it's working or not, or if you have to change direction.

0:49:360:49:40

Well, I left something in Lorient. I just remembered it.

0:49:420:49:45

So...it's all my notes from that Baggad thing.

0:49:450:49:48

So I'm going to get them before the soundcheck.

0:49:500:49:52

Donald will be so upset if I don't have them.

0:49:520:49:55

See, these bits are the bits that everyone misses,

0:49:550:49:58

this corner section here.

0:49:580:50:00

It's apparently quite important for how the collar sits,

0:50:000:50:04

that's what I've learnt.

0:50:040:50:05

Hello.

0:50:090:50:10

Remember me?

0:50:100:50:12

Aye, see, I've seen this happen before in this part of the world -

0:50:120:50:15

they get a bit starstruck.

0:50:150:50:17

Ah, come on, you must remember me.

0:50:170:50:20

Yeah, completely starstruck.

0:50:200:50:22

Well, when you do come to, er, we've lost our percussionist,

0:50:220:50:26

he's a few miles out there,

0:50:260:50:27

so it would be great if you could try and save him,

0:50:270:50:30

get him back for half eight - I think that's when the gig is.

0:50:300:50:33

Who's the most important? Who goes on first?

0:50:360:50:39

Is Devon ready for Capercaillie?

0:50:390:50:42

Er, me.

0:50:420:50:43

Or are Capercaillie ready for Devon?

0:50:430:50:46

-You go first.

-I'll go first.

-You go first.

0:50:460:50:48

APPLAUSE

0:50:510:50:54

SHE SINGS IN GAELIC

0:51:120:51:15

CHEERING AND APPLAUSE

0:51:240:51:26

Right, that's that.

0:51:260:51:28

'Yeah, we escaped, I think.'

0:51:280:51:31

They didn't maul us, they didn't demand that

0:51:310:51:33

we go back to Scotland and never come back again.

0:51:330:51:35

No, it was great actually, they were a really warm audience.

0:51:350:51:39

We actually changed the set a little bit halfway through,

0:51:390:51:42

went for the Gaelic angle, and it worked.

0:51:420:51:45

You can never go wrong with the Gaelic angle, I think.

0:51:450:51:48

Really happy.

0:51:480:51:50

-Thanks, that was great.

-Ah, cheers.

0:51:510:51:53

Next stop, Shrewsbury.

0:51:550:51:56

But after 30 years together how long can the band continue?

0:52:050:52:09

I rely on it a lot.

0:52:090:52:10

What happens in the future is another thing.

0:52:100:52:13

I've been with them 26 years and for the last maybe 15 years I've...

0:52:130:52:19

It's gone through my head, when is this going to stop?

0:52:190:52:22

And I'm prepared, it has to stop at some stage,

0:52:220:52:26

but I'm quite glad it's still going.

0:52:260:52:29

The band are back in the studio refining a couple of tracks

0:52:320:52:35

before an upcoming radio session.

0:52:350:52:37

And they haven't lost their attention to detail yet.

0:52:370:52:41

Feels a bit, er...a bit jaunty,

0:52:410:52:45

you know, coming out of the straight.

0:52:450:52:48

'We know how to achieve what we want to achieve, that's half the battle,'

0:52:480:52:52

but it's still an exciting moment when you press record.

0:52:520:52:57

Obviously Donald is so busy with other projects now.

0:53:080:53:12

The Celtic Connections has taken up a huge chunk of his year.

0:53:120:53:16

Obviously that influences what we can do as a band

0:53:160:53:21

but we just manage to take pockets of time here and there

0:53:210:53:26

and just try and juggle it and make it work, you know.

0:53:260:53:29

They're keeping it fresh for themselves as well as for

0:53:350:53:38

the public. It's very plausible for the public to get fed up of...

0:53:380:53:42

you know, of the same old stuff!

0:53:420:53:44

But Capercaillie have stayed very true to themselves.

0:53:440:53:48

The essence has remained the same throughout.

0:53:480:53:50

It's not them and us any more.

0:54:030:54:04

There was a long time when everybody's music was pigeonholed,

0:54:040:54:07

and even within traditional music

0:54:070:54:09

they were all pigeonholed, and now these barriers have all come down.

0:54:090:54:14

World on Three presented by Mary Ann Kennedy

0:54:180:54:21

is one of Radio 3's flagship world-music shows.

0:54:210:54:25

The band have been invited to play a session on the programme,

0:54:250:54:28

a true testament to the position they hold on the world-music stage.

0:54:280:54:33

KAREN SINGS IN GAELIC

0:54:330:54:35

Musically, it's just an ongoing process.

0:54:460:54:50

We've got the luxury of having a wealth of material to tap into

0:54:500:54:54

at the School of Scottish Studies, erm,

0:54:540:54:57

and also the boys are writing all the time, writing tunes.

0:54:570:55:00

But the material's there and as long as we've got the energy

0:55:000:55:03

and the enthusiasm to do it I think we'll still be doing it.

0:55:030:55:06

There's absolutely no commercial pressure for a band like us

0:55:090:55:12

because there...

0:55:120:55:15

there is no record industry to speak of any more, like there

0:55:150:55:18

used to be 20 years ago, so in a sense you're not in any way

0:55:180:55:23

making music for an audience, because mostly what happens now is

0:55:230:55:29

people are making music for a live situation, which we've always done.

0:55:290:55:32

30 years from now I would like to see the momentum

0:55:450:55:48

that's gathered in the last 30 years

0:55:480:55:51

going at the same pace, if not faster.

0:55:510:55:54

I would like to see people as excited about it in 30 years

0:55:540:55:59

as they appear to be now.

0:55:590:56:01

Back to a home audience, as the band headline at the Blas Festival

0:56:020:56:06

in Inverness, before ending the year with a UK tour.

0:56:060:56:09

I think what's become very evident just in the last two or three years

0:56:140:56:18

is that we've actually...

0:56:180:56:20

we're there for each other in much more than just the musical sense.

0:56:200:56:24

You know, there's been a lot of personal things, a lot of stuff

0:56:240:56:27

that's gone on that has brought us together, and again it's...

0:56:270:56:34

being with a group of people for 30 years is a long time.

0:56:340:56:37

It has a legacy

0:56:370:56:39

and I really do think we'll go into our dotage as...as friends.

0:56:390:56:45

SONG: "At The Heart Of It All"

0:56:450:56:47

# The poems and the musings

0:57:150:57:18

# Of Sorley MacLean

0:57:180:57:22

# They tumble and cascade across the page of every man

0:57:220:57:28

# They will rise and spring to life again

0:57:290:57:32

# In a song for the good of all

0:57:320:57:35

# Where a people and their land are at the heart of it all

0:57:370:57:44

# At the heart of it all is a calling to this land

0:57:440:57:50

# In the words of our salvation is a song for the common man

0:57:500:57:57

# At the heart of it all is a story to be told

0:57:570:58:04

# For the sake of our salvation and the troubles we behold. #

0:58:040:58:12

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