Saturday, 31 December 2022

Dependency Supporters

Choice between Scotland’s independent sovereignty and the politics of DEPENDENCY 

Language really matters. I agree with the Wee Ginger Dog we must stop calling those who “advocate dependency” - unionists, which implies a positive working together, when this is not happening  at all. Scotland is ignored, Scotland’s resources have been plundered, and her voice suppressed. Its crucial we stop using the false term “unionist” and instead call those who want to hold Scotland back – “dependency supporters.” This UK is very much not a partnership – the term unionist is fake and  misleading. A union refers to a partnership (or marriage) one in which each partner has an equal say - of compromise, collaboration, negotiations. 

 

Culture and language drive and are ahead of our politics. This is about Scotland’s voice.

The policy makers in London are using derogatory language against those who believe in Scots sovereignty. – they use terms such as ‘separatist’ and ‘nationalists’ to imply Scots are driven by ideological greed, ignorance, selfishness, divisiveness. While they know full well most Scots want to work in an indy nation in the EU trading block and be international, left of centre and outward looking. 

For centuries Scotland has been a seafaring international and trading nation with our great seaports (now mostly closed apart from apart from Aberdeen). Scotland does not need to trade via the bottleneck of Dover - we can trade direct to Europe as Ireland does.

 

Succession actor Brian Cox suggests the British isles can be a “Federation of sovereign states, one in which we can all b citizens and participate, and have an equal say and pull together for the common good of all.” At the moment this is not happening here UK, because this is not a partnership. Its about 3 smaller nations being dependent on all rules, policies and decisions set in London, for the benefit of the south of England, in a highly centralized monarchy/ parliamentary sovereignty/ power structure, where the Crown is used to assert power, for the benefit of the empire state not the people. And operates its dirty money London Laundromat. Much more centralized than a century ago.

(Please note – Labour and Conservatives are English political parties. After Scotland’s indy Scotland needs its own political parties, which would naturally evolve here, to cover differing views. Scotland’s indy is about more local and accountable government.) 

 

Some refer to England as the “parent state” and they believe they own Scotland. By contrast most Scots believe that back 300 years ago in 1707, Scotland, as one of the oldest nations in Europe, with its rich diverse history, and deep lasting connections to scholarly learning in Paris from the time of Reformation - as explorers, as mercenaries, and innovators. - that Scotland entered into a voluntary partnership with England for trading reasons. At that time Scotland had 1million people, England had 4 million. Historians tell us Scotland was never a colony – yet if surveys asked the English or Scots if they believed Scotland is a colony, they will surely say yes – as we do not have self government but are ruled from the capital of another nation. 

 

There’s been a general ignorance of Scots history and Scots culture is not celebrated by Dependence supporters. That’s if Scots know any of their history, after decades of being only taught English history in our schools. Scotland was not conquered in 1690, even though Cromwell tried and got as far as Dunnottar castle. In fact Charles II was crowned firstly at Scone on our Stone of Destiny. Culloden was the last pitched battle here UK – there were Scots on both sides, as well as French and Irish. These were religious battles. Crucially at Charles III ascension he pledged the freedom of Scotland’s church. 

The big question is, how efficiently does Devolution work – with civil servants in London making decisions? What does devolution mean, when Scotland is allowed to run only some of its affairs? 

 

It’s a confused, messy picture. Do dependency advocates think that devolution works well, because most Scots are totally confused - what is reserved, what’s run here? Does Scotland run its own energy policy (no, the UK runs energy but has had no energy policy), does Scotland run its economy and tax (no). After leaving the EU, the London government now interferes in many devolved matters. So its even more confusing. Tories appear intent on wrecking devolution settlements. 

 

Back before WW1 Scotland ran more of its own affairs. This isn’t about Edinburgh becoming another centralising London either but about greater local control. This isn’t about personalities – its about the wider yes and civic movement. A good plan is for a Citizens Assembly to grow our ideas for the way ahead, organically from the ground up. That’s the only way to grow support for our independence. It appears from studies that many Scots are very confused over what devolution means, what independence means in todays world of interconnections over trade (as in the EU). I believe it would be very helpful for all sides, ideas and views, to clarify what both these arrangements really will mean. 

 

It all depends on whether you see the UK as a free democracy or an empire state more concerned with the global empire – than the people who live here. The UK requires radical reforming on all levels and to put people first! This is a struggle between Westminster sovereignty and the sovereignty of the Scottish people. Since union 1707 Scotland has always been run separately with a Secretary of State. Of course the uK likes confusion and has no constitution. We need clearer and simpler details of what devolution and independence means for us. Most voters are confused and I am sure the UK encourages confusion just as there no clear constitution. 

 

 

Friday, 30 December 2022

BURNS memorial window St Giles

 

Burns Memorial window St Giles


I have wondered that there is no memorial to Burns in central Edinburgh. I discovered after visiting there is a new memorial window to Burns in St Giles – commissioned in the 1980s. However it is not highly noticeable without reading all the blurb. Edinburgh had a big effect on Burns when he stayed there several times between 1786 and 1788, in order to publish his second edition of poems. He spent time at William Creech’s publishing house near the Mercat Cross. He went to gentlemen’s clubs and was feted at the ploughman poet at the parties of the Edinburgh literati. 

One of Breidfjörd’s largest commissions, this window celebrates major themes in Robert Burns’ poetry. Burns was a Scottish poet who lived during the 1700s. He is celebrated throughout England and Scotland as a great peasant-poet. Most of his poem was written in Scots and portrayed traditional Scottish culture.  

In the window, the lowest section is filled with vivid green in order to represent the natural world. The middle sections represents human unity through the many different human figures portrayed. This is supposed to be regardless of race, colour or creed. 

The top portion portrays a sun with a heart being a sunburst of love which blossoms like a rose. The window panes that surround this portion appear to be shaped like a heart

http://www.stgilescathedral.org.uk/history/architecture/burnswindow.html

Song Bird Christine McVie

 

Fleetwood Mac 1970s

I was deeply saddened to hear of the death of our beautiful songbird Christine McVie. – best known for songs with the rock band Fleetwood Mac such as Don’t Stop, Little Lies, Hold On, and of course her classic Songbird. She says the song came to her overnight and she had to keep singing it until morning when she was able to then record! 

 

Christine began playing with Fleetwood Mac in 1968, initially as a session player and joining the band in 1970. Her first compositions with Fleetwood Mac appeared on their fifth album, Future Games. She remained with the band through many changes of line-up, writing songs and performing lead vocals. 

In early 1970s the band moved to LA after the death of Peter Green and Lindsay Buckingham and Stevie Nicks joined. Christine and Stevie were great friends. Rumours is one of my all time favourite albums. 


Christine spoke of her long standing friendship with Stevie Nicks -  “We're totally different, but totally sympathetic with each other. We are dear, dear friends. We don't have any competition on stage,” McVie told Rolling Stone of her band mate Nicks in 2014; that was but one of the many compliments the two artists have exchanged in public over the years.”

Fleetwood Mac were distinctive being led musically by two women! Also for mixing English rock and LA sounds. 


Lindsay Buckingham & Christine McVie


In 1998, after 30 years with the band, she left and returned to England to set up home there. She then lived in semi-retirement, releasing a solo album in 2004. After therapy to over come her fear of flying she was able to visit band mate drummer Mick Fleetwood in Hawaii and returned to playing with the band. She also recorded an album with L
indsay Buckingham.

Reunion Fleetwood Mac 2014

McVie was an English musician and songwriter. She was best known as keyboardist and one of the vocalists of Fleetwood Mac. McVie was a member of several bands, notably Chicken Shack, in the mid-1960s British blues scene

She was described as "the prime mover behind some of Fleetwood Mac's biggest hits". Eight songs written or co-written by McVie, including - “Don’t Stop, Everywhere, Little Lies, Hold On, (on Fleetwood Macs 1988 Greatest Hits album)

She played on the band's last studio album, Say You Will. McVie also released three solo studio albums. As a member of Fleetwood Mac, McVie was inducted into the Rock and Roll Hall of Fame and in 1998 received the Brit Award for Outstanding Contribution to Music.

She appeared on stage with Fleetwood Mac at the O2 Arena London 2013 and rejoined the band in 2014 and for their On the Show tour 2014. McVie received a Gold Badge of Merit Award from BASCA, the Ivor Novello award for Lifetime achievement. She was also the recipient of two Grammy awards

 


 

Wednesday, 30 November 2022

My Chats and Tributes to Scots Legend Rab Noakes

Rab Noakes Oran Mor

A Present with no Past has No Idea, Quote Rab Noakes Branch song. Good Roots

So sad to hear the news of our loss of singer songwriter Rab Noakes - what a true gent and legend of Scottish music. Rest in peace. I've had the privilege of taking Rab's photos at several concerts over many years since 2010. 

I’ve had several chats with him over the past decade, both in person and online. I have such fond memories in my twenties we used to sing his early songs. More recently my son played an excellent version of his classic Gently Does It and Moonlight and Gold.

Rab was always a smartly dressed folk singer songwriter, and one of the top guitarist. He drew influences from the 60s radio growing up in Fife, much as his musical hero Bob Dylan did too. While he drew on many influences. The story of the song mattered to Rab, so his chat between songs laid the musical scene and atmosphere.

In the 60s and 70s, Rab played with greats such as Gerry Rafferty and Lindisfarne. When I hung out in the folk scene then, i remember well the harmony singing of Noakes songs, such as Branch, Clear Day, Together Forever. Back in 2007 I saw Noakes still going strong at an Oran Mor gig. He often includes a fifties classic, this time a song my husband remembered his mother singing. He is also a dedicated Dylan follower – check out his excellent version of Dylan’s Mississippi. 


Martha Rafferty & Rab Noakes

Noakes says music is all about the dialogue and more about performing than simply the song. Those residency night gigs were artists can learn their craft in front of the live audience and the live performance when 'flying' in the heart of the music toughens you up and you have to learn loads of songs. He played in Denmark six nights a week.
 Noakes ran his own production company Neon. 

Rab led several tribute concerts at Glasgow’s major music festival. Celtic Connections, for Gerry Rafferty and Michael Marra. I expect we will have a concert for Rab – it’s the passing of a whole generation of the folk scene – and we look forward to the passing of the baton to the younger generations. 

He will be sadly missed, his music lives on and in my memories of my son playing his classic "Gently Does it" and Rafferty's "Moonlight and Gold".


Rab at Milngavie folk club

He has been at the forefront of Scottish folk music for over 50 years, and has recorded over 19 studio albums. He often performed at the Glasgow music festival Celtic Connections. In 1970 Noakes released his first solo recording Do You See The Lights, a blend of easy going country rock, with a line-up that included Robin McKidd, electric guitar and jazz bassist Ronnie Rae, and included songs Too Old To Die, Together Forever and Somebody Counts On Me. In 1971 Noakes was a founding member of the folk rock band Stealers Wheel, along with Gerry Rafferty and Joe Egan, He played on the first album by Gerry Rafferty’s Can I Have My Money Back, notably Mary SkeffingtonHe also played with the band Stealers Wheel. 

Noakes songs have been covered by Lindisfarne (Together Forever) and Barbara Dickson.

I will post some extracts on his songwriting from my nine RAB NOAKES reviews. 

Rab at a house party

**RAB gig reviews on my blog

2010 -  Oran Mor

2012 -  Concert for Gerry Rafferty

2012 – Milngavie folk club

2013 -  Concert for Michael Marra

2014 -  tour Barbara Dickson

2016 - MFC

2017 – Celtic, Old Fruitmarket

2022 - MFC

Rab with Alice Marra Celtic Connections

Eddi Reader, Rab Noakes, Dougie MacLean

Rab & Kathleen McInnes

Rab & Barbara Dickson
Rab & Jill Jackson

CHATS with RAB 

A gentle, questioning soul – with a generosity of spirit. 

I sat beside him at a couple of times at Celtic press release mornings. I told him of my sons guitar playing but that he lacked confidence, Rab said in his young days, performers laid the ground work playing the folk clubs for years – but today people seem to often expect quick, instant results. I told him my son enjoyed playing some of the folk tunes, particularly Gently Does It – I had taken my son to our local folk club to see Gaughan, Noakes, Dylan at Braehead Arena. My son also enjoyed rock and pop and learned electric guitar and bass from the rock band the Red Hot Chillis!

 CHATS with Rab at Celtic

I sat beside Rab at the Celtic Press launch on Tuesday. He seemed to know me - maybe from his Oran Mor gig, my review and photos for him and his chatting to me on facebook. Cool and what an interesting guy. 

He’s a massive Dylan fan too!  I asked him if he mentored younger artists – he said no he wasn’t going to simply give his secrets away! He said that too many young people expected things on a plate, and that they were spoon-fed everything. He had to put in years of graft to learn his craft and he thought that was the way things should be done.  He mentioned all these music schools now where they are simply ‘given’ everything rather than finding out for themselves. 

 

I agree. I worry so many young artists in the folk scene for instance have less depth of character in their voice. He said he enjoyed the thread on FB chat with me - interesting thread he said! I told him how interesting the book festival is, and that many authors are also painters and musicians too. I spoke of the Dylan ‘Forever Young’ photos, probably my favourite of an artist.  He remarked that Dylan had so much character he must be good for photos. And I told him of the Chinese writer who when he paints only listens to music for weeks and tries not to think in words at all.   

 

*On Facebook I posted – “The best music is timeless’

Rab replied, ‘No, the best music is very much of its time, and that a present with no past has no future.’ 





Noakes was born in St Andrews Fife in 1947 and grew up in CuparHe drew influences from the 60s Radio growing up in Fife, much as his musical hero Bob Dylan did too. While he drew on many musical influences. In 1963 Noakes moved to London and worked for the Civil Service, and he played folk clubs at night. He returned to Scotland in 1967 and began a duo with Robin McKidd and they played their first gig at the Glasgow Folk centre. In 1769 he played a months residency in Denmark. Noakes was a founding member of the folk rock band Stealers Wheel, along with Gerry Rafferty and Joe Egan. 

In 1970 Noakes released his first solo recording Do You See The Lights, a blend of easy going country rock, with a line-up that included Robin McKidd, electric guitar and jazz bassist Ronnie Rae, and included songs Too Old To Die, Together Forever and Somebody Counts On Me.

He played on the first album by Gerry Rafferty’s Can I Have My Money Back in 1971, notably Mary SkeffingtonHe also played with the band Stealers Wheel. He performed with Lindisfarne in 1972, on songs Turn a Deaf Ear, Nicely out of Tune, Together Forever, and Fog on the Tyne. He recorded with Lindisfarne for a John Peel concert and in 1995 produced a Radio 2 programme The Story of Lindisfarne. 

One of Noakes's best-known recordings, "Branch", from the Red Pump Special album, was released as a single in 1974 (recorded in Nashville Tennessee and produced by Elliot Mazer) and received Radio One airplay.  He played on a Woody Guthrie tribute album 1987, and toured with the Veraflames – along with Pick Withers, Rod Clements and Fraser Speirs.


Rab & Gerry Rafferty

Rab & Stealers Wheel