Arran Arctic: Live in the Living Room for the Scots Whay Hae! Podcast...

The latest Scots Whay Hae! podcast features live music from one of our favourite musicians, the enigmatic and rather wonderful Arran Arctic. Arran made the trip through from Edinburgh to play a rare live set for us, and you, and  once the guitar was packed away he joined Chris, Ian and Ali for a chat about music and more. Recorded on Record Store Day the talk turns to early music buying experiences, fond memories of record stores past and present, and, with a tentative step towards a new regular column, we discuss 'lost' albums. 

Arran plays All That I Can Do, which you'll hear before the banter, followed by Always About You and Keep which follow. They are three gorgeous songs which will please those of you who already know Arran's music, and serve as a great introduction to the man and his work to those who don't. I hope you enjoy them as much as we do. If you do you can buy Arran and learn more about him and his work by visiting his website where you can, as promised, purchase often surprising and personal merchandise.

I'm sure you all subscribe to the podcast as it is the best way of getting it first, but if not then you can do so on iTunes or by RSS and the next episode will wing its way to your inbox in roughly two weeks time. What's occurring? Well nothing is confirmed but we hope to have someone who is in one of the year's biggest movies. You'll have to listen to the whole of this podcast to find out who I'm referring to, or just fast forward (damn, I hadn't thought of that).

The talk of lost albums came around as Scots Whay Hae! is going to be starting a new regular column in the next few days which we want to open up to all. As yet untitled, it will be about those records which people feel have been overlooked or forgotten as they don't fit into the neat narratives that are often used to define the history of popular culture. As we try to make clear, this is all about personal choice. You may play one of the records spoken about, and then subsequently written about, all the time, but this is not definitive so please don't give us grief. I'm interested in finding out about the records which people feel are underrated, and why. With this in mind I'd love it if those interested would send us short essays about their choices and, if we feel they fit, we'll publish them. The first column will be about One Dove's Morning Dove White which is talked about on this podcast. When you have a read of it, and think you've got a much better candidate, have a go and let us know.

Send all pieces to scotswhayhae@gmail.com  and we look forward to reading them. Who knows, one day someone may even collect them all together. I cannae wait.

And for those of you who are tickled by pictures of men with beards and specs; my how we spoil you...

You Have Been Watching...Bill Douglas's Comrades

Can I tell you about a film which opens with a total eclipse, followed by some scenes of women who seem to be in a Monty Python sketch attacking a milling machine with pick axes. Then Alex Norton walks across the genitals of the Cerne Abbas Giant dressed in a top hat (Norton, not the giant). Have I got your attention? Then settle back and I'll begin.

Bill Douglas is best known, if he is known by people at all, for his  biographical trilogy My Childhood, My Ain Folk and My Way Home which Scots Whay Hae! reviewed in 2009. If you haven't seen them then they are three of the most beautiful pieces of film from any British filmmaker, and whenever I watch them the question that always lingers is why he is not better known. Douglas is lauded by many film aficionados, the BFI have afforded lavish DVD versions of his films, but they deserve to reach the widest audience possible. The same goes for his epic final film, Comrades.

Comrades tells the story of the Tolpuddle Martyrs, the group of six 19th century Dorset farm workers who, in the face of seeing their pay being reduced weekly, decide enough is enough and form a union to make a stand. For daring to oppose their 'masters' they are deported to Australia with other undesirables. But this is no simple historical piece of cinema. Comrades is always political while being cinematic; intellectually challenging as well as visually gorgeous. Douglas is a political aesthete who doesn't believe that you can only have one while compromising the other.

The film boasts a fantastic cast, another page to the mystery as to why this film is widely unknown. You will be able to spot Phil Davies, Imelda Staunton, Keith Allen, Vanessa Redgrave, Barbara Windsor, Michael Hordern, dancer and choreographer Michael Clark, as well as two of Britain's great actors James Fox and Robert Stephens (who for many will be Teddy Lloyd, lover of Jean Brodie, but who for me will always be Abner Brown from The Box of Delights). Add in Alex Norton taking on fourteen different roles and you can see that this is a slightly bizarre feast of great British acting talent. But amongst all these well known names one performance stands out.

The man who carries the film is Robin Soans (right) as the heroic George Loveless. Soans has gone on to have a solid career in TV, but his performance as Loveless is surely a career highlight. He is the saintly leader of men who is pushed over the edge into action, simply wanting a fair day's pay for a fair day's work; a belief that is as relevant today as it's always been. Loveless is a 'good man' and his decency and compassion radiates from the screen. He represents not only the working man, but also Douglas himself, both believing that people are born good before life attempts to change them, and that they know the right thing to do even when they choose to do otherwise. The suggestion is that to know and do the right thing is where the real struggle for the soul lies. This is unapologetic humanitarian filmmaking.

Which makes Comrades sound terribly worthy, but it is anything but. This is a treat for the senses, and aside from the performances and the politics it is the direction of Douglas that stays with you. As in his trilogy Douglas is unafraid to let the camera linger on the faces of his actors allowing the audience to come to their own conclusions. Every frame is a considered treat, and standout images include the cockroaches infesting George's house, and mind; the horse who is treated better than those men in the field, and the minstrels leaving the village at dusk, an image so beautiful it should be hung on a wall. This is true epic filmaking which manages to retain its integrity against the spectacle and scope.

Douglas is also commenting on the power of cinema, and how that power is often abused. Among Alex Norton's many turns is as the travelling Lanterna Magicka man, who traverses the land telling stories using his magical device. As the film progresses so we see the early progression of film as it moves from the simple use of shadows to become The Splendid Diorama, a light show with live music and performance. Even this early on we can see that there is a struggle between the use of this new medium to ask social/political questions and to simply entertain, and perhaps mollify. Douglas's love of film is in every frame, and he is not going to make grey cinema simply to hammer home a point. He is the most European of British filmmakers, and his films are reminiscent of the best of Bergman and Fellini with another influence being the gentle surrealism of Powell and Pressburger. I am not suggesting that he is simply a follower of such legends, but absolutely their equal. If you love cinema then you have to see everything that Bill Douglas did in his all too short time.

Here is the trailer:

The film ends with George talking straight to the audience, a device which could have fallen flat, but which works because of its simplicity. We are being reminded that we have just seen a 'morality play' and now the actor breaks the fourth wall to appeal to those watching to take the lessons learned and make sure these things are not allowed to happen again, while acknowledging they already have. Comrades may be set in 1834 but it was filmed in the mid-1980s and this is as much a commentary on the devastation and the destruction of the mining, steel, shipbuilding and other industries that either had, or were being, destroyed often using similar management tactics as were tried on these martyrs. George Loveless is reminding us that all that is needed for evil to triumph is for good men to do nothing, but also that everyone has an opportunity to make a stand, to do the right thing.

The Gentle Guide to Scotland: A Review of Anne Ward's Nothing To See Here...

There are two weighty tomes by Scottish literary legends sitting on my bedside table at the moment; namely Iain Banks' Stonemouth and Irvine Welsh's Skagboys, and there will be reviews of both of those books in the coming weeks, but often small is beautiful, and I have to draw your attention to a book that I picked up while buying music I can't afford in Mono recently.

It's called Nothing To See Here by Anne Ward, and it is an absolute delight. Basically a guide to the quirky, quaint and curious corners of Scotland, Ward's book takes you on the roads less travelled; literally, as the first entry is on the B7076/B7078 road that runs between Hamilton and Gretna and which I know very well as it was my road of choice when I used to go and visit my Granny in Annan in the 1990s. Running parrellel to the M8/A74, it is a forgotten piece of road so deserted and beautifully desolate in places that you could pretend to be in your own road movie. You could also safely push your car to its limits. When I say safely, I mean you wouldn't be caught as there are no cameras and few police patrols. Actually the road surface is falling apart so probably not actually that safe, but a joy nevertheless.

Other attractions that the book highlights include Carfin Lourdes Grotto, The Italian Chapel on Orkney, The Hamilton Toy Museum in Callander, Little Sparta in Dunsyre, Lanarkshire (where they also make a fine blue cheese), The Tunnocks Factory in Uddingston, Pennan in Morayshire (location of Local Hero), the Samye Ling Tibetan Centre and Monastery in Eskdalemuir, Storybook Glen at Maryculter in Aberdeenshire and many more. I'm going to use it as a guide to travel around Scotland this summer when I have a spare weekend or two, and I think everyone, no matter where in the country, will find something to fascinate them and make them want to visit.

Here's a couple of clips that feature attractions from the book. The first is a place which featured on Scots Whay Hae! ages ago, the Sharmanka Gallery at Trongate 103 near Glasgow Cross. This is just one of their exhibits, The Master and Margarita, inspired by Bulgakov's novel of the same name:



Then there is this clip from someone's 'Art Safari' in Dumfries which takes in the Glenkiln Sculpture Park, a place you can find works by Rodin and Henry Moore amongst others:



Nothing To See Here suggests lots and lots for us to do, and is just a wonderful guide to places that will life your heart and mind. I suggest you grab a copy and take a road trip or two.

By the by, John got in touch to say that he would prefer it if I used left hand justification for these posts. I think he may have a point so I'm going to give it a go, but if you have thoughts or preferences then let me know. I'm easily swayed...

A Pod of Two Halves: An Interview With Rodge Glass plus Extra Time...

The latest Scots Whay Hae! podcast is out now and has Ali interviewing writer Rodge Glass. The original attempt to record him was before the launch of his latest novel Bring Me the Head of Ryan Giggs at Mono in Glasgow but that was lost to the Matrix so we eventually reconvened and recorded at Scots Whay Hae! Towers a couple of days later. Ian did manage to record Rodge's reading from the night at Mono which we give to you as a podcast bonus extra. There's a little interference but what you do get is a better taste of the novel than any review or interview could possibly offer.

But, as everything is indeed for the best in this best of all possible worlds, the new interview with Rodge is considerably longer, more relaxed, and just damned better than the one that got away. He talks fully about his life as a writer, and how the different forms of writing; fiction, biography and graphic novel, have helped to free him from worrying about the expectations of others, and himself, and to write in his own voice. Anyone interested in pursuing a life as a writer, or who are simply fascinated by how a creative process can develop, will be interested in what he has to say.

During their discussion the talk turns to A. Gray, R. Giggs, R.A. Jamieson and D. Day-Lewis as well as looking at Glass's previous books No Fireworks, Hope for Newborns, Alasdair Gray: A Secretary's Biography and Dougie's War. But the main focus is on Bring Me the Head of Ryan Giggs, the aims and ideas behind it, the problems with even alluding to living legends, and how the book has been received so far. To find out the Scots Whay Hae! view you should have a look at this review.

You can listen to and subscribe to the Scots Whay Hae! podcast by going to iTunes or by RSS. The line-up for the next one is still to be confirmed, but if everything goes according to plan it should involve some live music once we can work out if it is feasible or not.

Thanks as always for listening and if you have any ideas that may improve the podcasts, or thoughts about future recordings, then please get in touch at scotswhayhae@gmail.com .

You Have Been Watching...The Elephants' Graveyard

Coming in the next couple of days is the 16th podcast which is an interview with Rodge Glass, and one of the things we talk about is the inability of many men to simply express what they are feeling, often reverting to the codified language of football, music, film... anything which avoids directly addressing personal emotion. This may be a male stereotype, but it is one which seems to remain relevant. Despite the mythical creation of the 'new man', two or more male friends, who may have known each other for years, are likely to be talking about their favourite guitarists of all time rather than any worries they have. Sound familiar?

Few people wrote disaffected men better than the playwright Peter McDougall, a man who is perhaps best known for Just Another Saturday, 1993's Down Among the Big Boys and the Jimmy Boyle biopic A Sense of Freedom. In 1976 he had his play The Elephants' Graveyard produced for the BBC's brilliant Play for Today series, and it deals head on with the complexities of that transition of boys to men, if such a thing actually exists. The clothes and setting date matters firmly in the 70s, but the themes are eternal.

Set in and around McDougall's home town of Greenock, it follows a day in the life of Bunny, played by Jon Morrison, who leaves home at six in the morning to convince his wife he works as a postman when he remains unemployed. He heads to the woods behind the town to hide and gather his thoughts. Taking shelter from the rain he meets Jodie, one Billy Connolly, a Clydeside philosopher who claims to be on the sick with a bad back while also enjoying the 'countryside'. From the off this is a relationship between teacher and pupil, with Bunny being asked to challenge himself as to what he wants from life, and who he wants to be. Jodie doesn't have answers only further questions.

As the two spend the day together Bunny begins to feel there is something familiar about Jodie which he can't place, and viewers are asked to consider if he is a figment of Bunny's imagination, or something more sinister or supernatural. The strong point of McDougall's plays is always the dialogue which can be lyrical at times while always remaining grounded and believable in his actors mouths. A play which could have been heavy handed and worthy is lightened by moments of comedy and a real bond and affection between the two men. They revert to being two boys, doggin' it from school, playing freely in the fields and woods of their youth as for a while they can forget their worries and responsibilities, although those always return to haunt them. Only 50 minutes long The Elephants' Graveyard is a play which will have you considering your relationships with family and friends, and which has an impact that is a slow burner. I first watched it years ago, and thought little of it at the time, yet I often return to it and here I am recommending it once more. This is all testimony to McDougall's writing and the naturalism of the two leads.

Morrison and Connolly work well together.  I always consider Jon Morrison a great lost Scottish actor, but I recently spied him alongside Brenda Blethyn on TV detective series Vera, which made my day. I've spoken about Connolly before  but this shows that from an early age he was an engaging and charismatic scream presence. Yes he is always himself on screen, but then there are many actors who have careers which are based solely around their personality and they are none the worse for that. Actually, I'm being unfair. Connolly can be charming, but he also does a fine line in menace as anyone who has watched The Debt Collector knows. Quietly he has gone on to have quite the film career while still holding his place as one of the most influential and popular comedians of the day. Even in terrible TV or film he is watchable. Here's the first part of The Elephants' Graveyard and you can watch the full play online:

For a while Peter McDougall was, alongside John Byrne, Scotland's foremost TV dramatist, but it seems he is seen as man out of time. Certainly his plays and films did a lot to confirm the myth of the Scottish hard man who drinks too much and for whom work is something from which he seeks to escape. But such myths aren't lies, they are a concentration of apparently objective truth and although this is a vision of Scotland that many will want to move away from, these plays,  like the 70s and 80s fiction of William McIlvanney, should not simply be seen as historical documents of the Wild West of Scotland. Strip away the flares and tonic wine and there are insightful social, cultural, political and philosophical questions being asked which are as relevant today as they've always been.

Mad March Hae!: It's the Month in Music...

Maybe it's the unseasonably fine weather but the tunes in my ears over the past four weeks have been sending me on my way with a skip in my step, a song in my heart, and my hat on the side of my head. There have been some fine music from old friends and new this month and here's a selection of the best. It includes a band I've been raving about for sometime, a solo release from one half of a favourite duo and the first release from someone who is one of my favourite singers of all time. In case you haven't realised it as yet, this has been a hell of a month. Without further ado, here's the best of March.

First of is the new single from Mummy Short Arms. I know, I know... my like of them is bordering on the obsessive, but isn't that the point? This is Silicone Dream and is yet more of the delicious madness that we have come to expect:

Now a solo single from The Bird and the Monkey's Sarahjane Swan called Beautiful Day to Die which has a lighter, poppier, feel than you may have expected and is none the worse for it. Think of the jangle indie-pop of the late 80s and you're close to the sound. It's a little bit gorgeous:

Now something new from Cancel the Astronauts whose song Funny For a Girl was well played round our way when it came out in 2010. They make some of the most uplifting music of the moment; the perfect accompaniment to a sunny day. This is their latest single Intervention and it doesn't disappoint one bit:

I haven't come across Capitals before but the fact they are releasing a double A-side had me all nostalgic. It's another slice of the sort of electronica which seems to be so popular at the moment. Luckily they match the technology with tunes. This is Sinking Ships followed by Jealousy:

Capitals - Jealousy/Sinking Ships Double A side by PauseRecord

Someone else new to Scots Whay Hae! is Plum, otherwise known as Shona Maguire, whose album The Seed is forthcoming. As a taster of that this is the single The Seed, and this is as interesting a video as I've seen in some time:

Plum - The Seed (Official Music Video) from Greg Hoyna / Pencil Rebel on Vimeo.

I'm going to finish off with the first taster from Paul Buchanan's solo album Mid Air. If you don't know who Paul Buchanan is then I think you're in the wrong place. I warn you now, when I come to review Mid Air all objectivity will be going right out the window. This, to me, is how the angels sing. This is My True Country:

These are the best of a great bunch for March. 2012 seems to be getting better and better in terms of new music. Let's hope for a long hot summer with a cracking soundtrack. Do do de do. Do do de do do de do do...