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