REQ: 'Flower of Scotland'/'Scotland the Brave'/'Hamish Henderson'
E.B. Meijerink
I'm looking for the lyrics of those two famous Scottish songs: 'Flower of
Scotland' and 'Scotland the Brave'.
I'm also looking for the lyrics of songs written by Hamish Henderson. I'm
especially interested in a song (I can't remember the title) which
contains the line 'Scotland the Brave no more, no more' and the song 'The
John Maclean March' (I apologise for any spelling errors).
Thanks!
Erik Meijerink ||
University of Groningen || 'Just because you are paranoid,
The Netherlands || doesn't mean they are not after you..'
Email: s031...@let.rug.nl || -> NIRVANA <-
Gary Martin
I'm looking for the lyrics of those two famous Scottish songs: 'Flower of
Scotland' and 'Scotland the Brave'.
I'm also looking for the lyrics of songs written by Hamish Henderson. I'm
especially interested in a song (I can't remember the title) which
contains the line 'Scotland the Brave no more, no more' and the song 'The
John Maclean March' (I apologise for any spelling errors).
Ed Miller has recorded both of these, and his recordings come with
lyric sheets. But mine are at home, and I'm not. I think the
first one is called something like 'Freedom Come Ye All'.
--
Gary A. Martin, Assistant Professor of Mathematics, UMass Dartmouth
Mar...@cis.umassd.edu
Craig Cockburn
In article <s03191...@let.rug.nl>, s031...@let.rug.nl (E.B. Meijerink) writes...
>
>I'm looking for the lyrics of those two famous Scottish songs: 'Flower of
>Scotland' and 'Scotland the Brave'.
>
>I'm also looking for the lyrics of songs written by Hamish Henderson. I'm
>especially interested in a song (I can't remember the title) which
>contains the line 'Scotland the Brave no more, no more' and the song 'The
>John Maclean March' (I apologise for any spelling errors).
>
Scotland the Brave
Hark when the night is falling
Hear! hear the pipes are calling,
Loudly and proudly calling,
Down thro' the glen.
There where the hills are sleeping,
Now feel the blood a-leaping,
High as the spirits of the old Highland men.
Chorus:
Towering in gallant fame,
Scotland my mountain hame,
High may your proud standards gloriously wave,
Land of my high endeavour,
Land of the shining river,
Land of my heart for ever,
Scotland the brave.
High in the misty Highlands,
Out by the purple islands,
Brave are the hearts that beat
Beneath Scottish skies.
Wild are the winds to meet you,
Staunch are the friends that greet you,
Kind as the love that shines from fair maiden's eyes.
(chorus)
Far off in sunlit places,
Sad are the Scottish faces,
Yearning to feel the kiss
Of sweet Scottish rain.
Where tropic skies are beaming,
Love sets the heart a-dreaming,
Longing and dreaming for the homeland again.
(chorus)
Origins: Ancient pipe tune
Flower of Scotland
1. O flower of Scotland
When will we see
Your like again
That fought and died for
Your wee bit hill and glen
And stood against him
Proud Edward's army
And sent him homeward
Tae think again
2. The hills are bare now
And autumn leaves lie thick and still
O'er land that is lost now
Which those so dearly held
And stood against him
Proud Edward's army
And sent him homeward
Tae think again
3. Those days are passed now
And in the past they must remain
But we can still rise now
And be the nation again
That stood against him
Proud Edward's army
And sent him homeward
Tae think again
(Words and music: Roy Williamson)
Written 1965?
- I have a rhyming version in Scots Gaelic of this.
Freedom Come All Ye
Roch the wind in the clear day's dawin'
Blaws the cloods heelster-gowdy o'er the bay,
But there's mair nor a roch wind blawin'
Through the great glen o' the warld the day.
It's a thocht that will gar oor rottans,
A' they rogues that gan gallus, fresh and gay,
Tak' the road and seek ither lawins
For their ill ploys tae sport an' play.
Nae mair will oor bonnie callants
March tae war when oor hoodies crowsely craw,
Nor wee weans frae pitheid an' clachan
Watch the ships sailin' doon the Broomielaw.
Broken faim'lies in lands we've hairriet
Will curse Scotland the Brave nae mair, nae mair
Black an' white, ane till ither mairriet
Mak' the vile barracks o' the maisters bare.
Sae come a' ye at hame wi' freedom
Never heed what oor hoodies croak for doom,
In your hoose a' the bairns o' Adam
Will find breid, barley bree an' painted room.
When MacLean meets wi' his friends in Springburn,
A' they roses an' geans will turn tae bloom,
An' a black lad frae yont Nyanga
Dings the fell gallows o' the burghers doon.
It was written by Dr. Hamish Henderson of Edinburgh University's
School of Scottish Studies, and is sung to an old pipe tune The
Bloody Fields of Flanders.
It was written in response to MacMillan's speech about the winds
of change blowing through Africa, and has been called (by no less
a singer than Archie Fisher) the song of the century. I agree.
A friend of mine, Dolina MacLennan, recorded this in the late 60's
or early 70's.
------------------------------------------------------------------------------
Craig Cockburn, Digital Equipment Co. Ltd, Reading, England. Suas
Internet: cock...@edieng.enet.dec.com leis
UUCP:..!decwrl!edieng.enet.dec.com!cockburn a'
Gha\idhlig!
Views here are my own, and are not necessarily those of Digital
John A Breslin IE90
This is a followup to <MARTIN.92O...@lyra.cis.umassd.edu>...
The (Hamish Henderson song you want is 'Freedom Come All Ye', and as to the
others, I can only supply the one, (guitar chords included):
Flower of Scotland
G D G
O Flower of Scotland when will we see your like again ?
G C G D G
That fought and died for your wee bit hill and glen
Ch
G C G
And stood against him proud Edward's army
C G F G
And sent him homeward to think again
The hills are bare now and autumn leaves lie thick and still
O'er land that is lost now which those so dearly held
Ch
Those days are past now and in the past they must remain
But we can still rise now and be the nation again
Ch
John B.
Internet:jbre...@cs.strath.ac.uk|John A. Breslin, 4th Yr. Computer Eng.
______ JANET :jbre...@uk.ac.strath.cs|Strathclyde Univ, Glasgow, Scotland
|\\##//|
|#\\//#| "For, so long as a hundred of us remain alive, we never will in any
|#//\\#| degree be subject to the dominion of the English. Since it is not for
|//##\\| glory, riches or honours we fight, but for liberty alone, which no
~~~~~~ good man loses but with his life." <The Declaration Of Arbroath 1320>
Colin Wilson
it) posted for everyone to see, but it's disappointing to see someone
perpetuating the practice of spelling Scots with apostrophes, that make
some of the words look as if they are just English ones with letters
missed out. This practice, which only began some two hundred years
ago, has been very detrimental to the general perception and hence the
status of the language. Fortunately, few educated writers adhere to it
nowadays.
To illustrate the point, the first line of the last verse would have
been better given as, "Sae come aa ye at hame wi freedom".
********************************************************************************
* Colin Wilson, E-mail: cwi...@gssec.bt.co.uk *
* Glasgow Engineering Centre, POTS: (041) 220 5340 *
* British Telecommunications plc. (+ 44 41) 220 5340 *
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* Glesca / Glaschu G12 9BY, Scotland a Twa-Leidit Fowkrick *
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Ken Josenhans
>especially interested in a song (I can't remember the title) which
>contains the line 'Scotland the Brave no more, no more' and the song 'The
>John Maclean March' (I apologise for any spelling errors).
Since E.B. brought it up: would someone write a bit about Hamish
Henderson, and the subject of "John MacLean's March"? I've been meaning
to post this since I bought Dick Gaughan and Tonight at Noon's versions
of the song on the same weekend.
Some details about Tonight at Noon would also be appreciated.
--
--Ken Josenhans
Internet: 1302...@msu.edu Bitnet: 13020KRJ@msu
Gary Martin
Since E.B. brought it up: would someone write a bit about Hamish
Henderson, and the subject of "John MacLean's March"? I've been meaning
to post this since I bought Dick Gaughan and Tonight at Noon's versions
of the song on the same weekend.
Here are the notes from Ed Miller's recordings of The John McLean March
[Ed Miller, Home And Away, Wellfield Records, 1991] and Freedom Come
All Ye [Ed Miller, Border Background, Folk-Legacy Records, 1989].
The John McLean March
by Hamish Henderson
Many Scots are renowned for their dour determination, but
few can be compared to John McLean, a Glasgow schoolteacher, whose
passionate dynamism in speaking out against war and capitalism
during and after the First World War made him a key figure in
Scottish working class politics. His message was international
socialist revolution, that war was an evil contest of plunderers
versus plunderers, and that Scottish workers should develop a "'class
patriotism' with German workers instead of murdering one another
for a sordid world capitalism". His fiery speeches in support of
strikes and go-slows in Glasgow (the hub of Britain's industrial
war effort) made him a hero among the workers of Clydeside, but a
villian in the eyes of the authorities, who imprisoned him on
several occasions.
On December 3, 1918, with the war over, McLean arrived back
in Glasgow after being released from Peterhead prison, and was welcomed
by a vast outpouring of workers who bore him through the city streets
in triumph. This event is the basic setting of Henderson's stirring
song. In it he incorporates the various streams of Glasgow's social
makeup - the lowlanders in the shipyards ("Jock & Jimmie"), the
Highland Gael ("Neil, ye great hielan teuchter") and the Irish ("Pat
Malone"). It is, then, a particularly Glasgow song while also both
a Scottish and an international song - such is the poetic genius of
Hamish Henderson.
Freedom Come All Ye
by Hamish Henderson
Poet, folklorist, songwriter, orator, storyteller, drinker
and dreamer, Hamish Henderson has for decades been the seminal
figure of the Scots Folk Revival. Renowned in academic circles as
a long-time researcher for the Edinburgh University School of
Scottish Studies, he is also loved and respected everywhere from the
revival festivals to the homes and Traveller tents of the folk from
whom he has collected songs and stories. To see big Hamish, arms
raised, leading his own songs at a festival session, is a joy to
anyone who loves to see any gap between folklorists and the Folk
effectively eliminated.
This song takes off from a speech by one-time Prime Minister
Harold McMillan in which he stated that there was a wind of change
blowing through the continent of Africa. Henderson, whose politics
are far to the left of McMillan's, widens the phrase into an inspiring
plea for racial equality, international socialism and an end to
war and colonialism. As in his other best songs, such as "The John
MacLean March" or "The Banks of Sicily," he demonstrates his ability
to write a song that is both uniquely Scottish and international.
Politically, the Scottish folk revival movement has long
been associated with leftist, nationalist and anti-war sentiments,
so it is no surprise that this song has become its anthem.
Gerry Mulvenna
Now Tonight at Noon , there's a fine band, and one I never would have expected
to see on this bulletin board. I became acquainted with the band when I
met the singer Pete Livingston in the Royal Oak pub in Edinburgh where he
used to let rip with that wonderful voice of his usually at the end of a
late night session.
It was only later that I found out he and his brother Gavin (I think) had
an electro-folk band Tonight at Noon. They released their first album
"Tonight At Noon" in 1985 and I think their second album "Down to the Devils"
which contains their version of "Freedom Come All Ye" came out in 1989.
By that time the line-up included bass guitarand a *real*drummer, giving
their second album a fuller sound that the first.
This is all from memory, but if you want me to check any details from the
albums, e-mail me direct at osg...@v2.qub.ac.uk.
Good luck
Gerry Mulvenna
Jack Campin
> cwi...@gssec.bt.co.uk (Colin Wilson) writes...
>> I'm pleased to see the words of [ the Freedom Come-All-Ye ] posted for
>> everyone to see, but it's disappointing to see someone perpetuating the
>> practice of spelling Scots with apostrophes, that make some of the words
>> look as if they are just English ones with letters missed out. This
>> practice, which only began some two hundred years ago, has been very
>> detrimental to the general perception and hence the status of the language.
>> Fortunately, few educated writers adhere to it nowadays.
>> To illustrate the point, the first line of the last verse would have
>> been better given as, "Sae come aa ye at hame wi freedom".
> Studies at Edinburgh University would know how to write in Scots. Do
> you know what the original looked like - my version was given to me
> by a friend. I would be interested to see how he wrote it. [...]
The version printed in the collection "Homage to John Maclean" doesn't have
the apostrophes. As the publishers (Polygon) were a few yards from Hamish's
office at the time, I suspect this is what he wanted. I haven't seen the
book the song was first published in in 1960.
> Does the apostrophe in Scots only indicate "missing" letters, or does the
> apostrophe serve a grammatical purpose, like the "h" in Gaelic? If it
> has an additional purpose, then why leave it out, any more than writing
> "Suas leis a Gha\idhlig" rather than "Suas leis a' Gha\idhlig"
> Perhaps an apostrophe could be considered as "letter" in Scots and an
> aid to pronounciation? There's been a big enough disaster with revising
> the spelling of Gaelic, (reforming towards English pronounciation) and
> I wouldn't want to see Scots go the same way.
Scots spelling has varied all over the place. You seem to be imagining an
age of standard Scots orthography that never existed. Even Scottish laws
from before the Union had wildly variable spellings (and systematic
differences from English where there was no difference in sound, as "quh-"
for "wh-" and "-cioun" for "-tion"). But until the 18th century one thing
that *did* characterize it was less use of diacritics than English.
Trying to set up a Spelling Police for Scots is not obviously going to be
helpful. It hasn't done Gaelic a whole lot of good, has it?
> You only have to look at Manx to see what happens when you spell one
> language according to the phonetics of another.
You get something a learner can actually make sense of?
*Most* orthographies started this way and it often worked - it had to,
since phonetic script wasn't independently invented very often. English
spelling fits Maori and Malay pretty well; the hybrid of German, French and
Persian used for modern Turkish fits that with better fidelity than almost
any other spelling system for any language. Cyrillic (originally developed
out of Greek to describe Old Bulgarian) fits Russian pretty well.
Disasters like Japanese (from Chinese) or English and Gaelic (from Latin)
are the exception.
There is a possibility for empirical test here: how many rules would it
take to describe a translation from each of Manx and Gaelic into phonetic
notation and vice versa? This has been done for English (by Herb Simon's
wife, whose name I forget, in the mid-70s - it takes about 200 rules). I'd
bet it would take more rules to get the right phonetics out of Gaelic
spelling than Manx.
--
-- Jack Campin room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland TEL: 041 339 8855 x6854 (work)
INTERNET: ja...@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk FAX: 041 330 4913
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Tom Brady
>an electro-folk band Tonight at Noon. They released their first album
>"Tonight At Noon" in 1985 and I think their second album "Down to the Devils"
>which contains their version of "Freedom Come All Ye" came out in 1989.
>By that time the line-up included bass guitarand a *real*drummer, giving
>their second album a fuller sound that the first.
I have a copy of "Down to the Devils", and I think I recall seeing
word of a new album in a recent Lismor Records ad (DttD also came
out on Lismor). Unless it is embedded in some other song, I don't
recall "Freedom Come All Ye" on "Down to the Devils". And I think
that they must have added a *real* drummer after they made this
recording. But for the drum machine, I would recommend the
album highly. If they have a live drummer now, I'm sure that they
sound a heck of a lot better.
-Tom
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-
Tom Brady Virginia Tech, Blacksburg, VA
br...@vtvm1.cc.vt.edu So, what exactly IS a Hokie?
"Never underestimate the effect of inertia as a force in society."
Gerry Mulvenna
>............... Unless it is embedded in some other song, I don't
>recall "Freedom Come All Ye" on "Down to the Devils". ...........
I stand corrected Tom, it is John MacLean March that they sing - I got
mixed up.
Gerry
Daniel Rosenblum
(Colin Wilson) laments the use of apostrophes in Craig Cockburn's
posting of the words to "Freedom Come All Ye". I'm entirely
sympathetic to Mr. Wilson's point. (As someone who has a passing
acquaintance with another language the legitimacy of which is
sometimes questioned, namely Yiddish, I know what it's like to
see people render Yiddish as if it were distorted German.) But,
if Hamish Henderson wrote it with the apostrophes (and I don't
know if he did or didn't), then it's entirely reasonable to quote
him the way he wrote them. How many people would change the
spelling of Robert Burns's poetry to conform to an admittedly
better spelling system? For that matter, even Hugh MacDiarmid
used the apostrophes and was ambivalent about changing them to
the better spelling, at least if the author of the preface to
some of his collected poems is to be believed, only authorizing
the modernization of the spelling near the end of his life.
So anyway, does anyone know how Henderson wrote the words?
--
Daniel M. Rosenblum, Assistant Professor, Quantitative Studies Area,
Graduate School of Management, Rutgers University (Newark Campus)
ROSE...@DRACO.RUTGERS.EDU ROSE...@ZODIAC.BITnet
d...@andromeda.rutgers.edu ...!rutgers!andromeda.rutgers.edu!dmr
Jack Campin
The tune is a variant of that used for "Scotland the Brave" (what was it
called before either set of words came along?):
Hey Mac, did ye see him as ye cam' doon by Gorgie,
Awa ower the Lamerlaw or north o' the Tay?
_Yon_ man is comin', and the haill toon is turnin' oot;
We're a' shair he'll win back tae Glesgie the day.
The jiners and hauders-on are marchin' frae Clydebank;
Come on noo an' hear him - he'll be ower thrang tae byde.
Turn oot, Jock and Jimmie: leave your crans and your muckel gantries.
Great John MacLean's comin' back tae the Clyde.
Great John MacLean's comin' back tae the Clyde.
Argyle Street and London Road's the route that we're marchin' -
The lads frae the Broomielaw are here - tae a man!
Hi Neil, whar's your hadarums, ye big Heilan teuchter?
Get your pipes, mate, an' march at the heid o' the clan.
Hullo Pat Malone: sure I knew ye'd be here so:
The red and the green, lad, we'll wear side by side.
Gorbals is his the day, and Glesgie belangs tae him.
Aye, Great John MacLean's comin' hame tae the Clyde.
Great John MacLean's comin' hame tae the Clyde.
Forward tae Glesgie Green we'll march in guid order:
Wull grips his banner weel (that boy isna blate).
Ay there, man, that's Johnnie noo - that's him there, the bonnie fechter.
Lenin's his fiere, lad, an' Libknecht's his mate.
Tak tent when he's speakin', for they'll mind whit he said here
In Glesgie, oor city - an' the haill warld beside.
Och hey, lad the scarlet's bonnie: here's tae ye, Hieland Shony!
Oor John MacLean has come hame tae the Clyde.
Oor John MacLean has come hame tae the Clyde.
Aweel, when it's feenished, I'm awa back tae Springburn.
(Come hame tae your tea, John, we'll sune hae ye fed).
It's hard work the speakin': och, I'm shair he'll be tired the nicht.
I'll sleep on the flair, Mac, and gie John the bed.
The haill city's quiet noo: it kens that he's restin'
At hame wi his Glesgie freens, their fame and their pride!
The red will be worn, my lads, an' Scotland will march again.
Noo great John MacLean has come hame tae the Clyde.
Great John MacLean has come hame tae the Clyde.
[ From "Homage to John MacLean", ed. T.S. Law and Thurso Berwick, first
published by the John MacLean Society in 1973, reprinted by Edinburgh
University Student Publications Board in 1979. ISBN 0 90491 38 2. The
poem was written in 1948 for a commemoration of the 25th anniversary
of MacLean's death. ]
This and the Freedom Come-All-Ye surely belong the ftp lyrics server,
wherever it is. Anybody know the details?
Incidentally, there is a new book out about MacLean, by James S. Young. I
think it's published by Clydeside Press. I'd rather they'd just reprinted
John Broom's book, but it'll have to do as nothing else is in print. Rumour
has it that the John MacLean Society has enough spare cash to publish some
more stuff: I hope they do "In the Rapids of Revolution".
Daniel Rosenblum
the extensive notes on Hamish Henderson from Ed Miller's
albums, Ian Watson, in _Song_and_Democratic_Culture_in_
_Britain_, discusses the "Freedom Come All Ye", the "John
MacLean March", and one other that I can't remember the
name of but that Dick Gaughan recorded and that he
described as Henderson's greeting to the coal miners of
I forgot where in the USSR (now former) from the coal
miners of Scotland. Henderson also wrote, as I mentioned
in another post, the words to "Banks of Sicily", and he
also wrote the wonderful "D-Day Dodgers" to the tune of
"Lili Marlene".
In the early 1980's, I heard Dick Gaughan mention that
Henderson had been a Communist, but that he broke with
the Communists to join the Scots Nationalists. Gaughan
didn't agree with that particular decision, because, he
said, the Scots Nationalists believe that an independent
Scotland would be socialist, and he saw no way that NATO
would allow an independent socialist Scotland for more
than about five seconds. After all, he pointed out,
look what happened in Chile, which hadn't nearly the
strategic or economic importance (location & oil) of
Scotland.
Jack Campin
subject to generate six or seven messages, even by Usenet standards, but
here goes again anyway...
d...@andromeda.rutgers.edu (Daniel Rosenblum) wrote:
> In <1992Nov2.1...@gssec.bt.co.uk> cwi...@gssec.bt.co.uk
> (Colin Wilson) laments the use of apostrophes in Craig Cockburn's posting
> of the words to "Freedom Come All Ye". I'm entirely sympathetic to Mr.
> Wilson's point. (As someone who has a passing acquaintance with another
> language the legitimacy of which is sometimes questioned, namely Yiddish,
> I know what it's like to see people render Yiddish as if it were distorted
> German.) [...] So anyway, does anyone know how Henderson wrote the words?
As I posted yesterday, the earliest version I can find (in "Homage to John
MacLean", which must have had Henderson's approval) doesn't have them.
They *do* appear in print in Norman Buchan's "The Scottish Folksinger",
which is almost the same as what was posted here (these two printed
versions both differ from that in the first line of the last verse: they
have "O come all ye at hame wi freedom..." instead of "Sae come all ye..."
- is "sae" a word?). But it would be surprising if Buchan had deliberately
altered Henderson's text.
Also, in "The MacLean March" in the "Homage" volume, Henderson *does* use
the apostrophes. The conclusion would seem to be that he doesn't think it
matters a great deal.
There's a nice anecdote about Hamish Henderson. He was the last of the
Cecil Sharp-style folksong-collector-on-a-bicycle types; the people he
collected from were the Travellers of southern Scotland. When taking down
material from an old gypsy in a tent in Galloway some time in the 50s, the
singer sang one of Hamish's own songs back at him, under the impression
that it was something traditional he wouldn't know (forget which, "The
Banks of Sicily" maybe?). I guess this puts a collector in a quandary...
Jack Campin
> In the early 1980's, I heard Dick Gaughan mention that Henderson had been
> a Communist, but that he broke with the Communists to join the Scots
> Nationalists. Gaughan didn't agree with that particular decision, because,
> he said, the Scots Nationalists believe that an independent Scotland would
> be socialist, and he saw no way that NATO would allow an independent
> socialist Scotland for more than about five seconds. After all, he pointed
> out, look what happened in Chile, which hadn't nearly the strategic or
> economic importance (location & oil) of Scotland.
Which is the sort of defeatism that led the CP through the 80s into its
predictable oblivion (the logical extrapolation is that NATO wouldn't allow
an independent socialist UK either, so sit on your bum and wait for the
Second Coming^H^H^H^H^H^H^H^H^H^H^H^H^H^H^H World Revolution). Bea
Campbell is now cosying up to the Christian fundie right and the rest of
the ex-CP leadership are looking for similar flat stones to crawl under.
As far as I know Henderson's commitment to Gramsci's version of Marxism (he
has been the major translator of Gramsci into English) is unchanged.
Henderson has been involved in one major issue that did get the CP and the
Scots Nats on the same side; the poll tax. He was one of the signatories
of a commitment not to pay it by 100 well-known Scots; I can't remember if
Gaughan was one, but I'd have expected him to be if he still lives here
(does he?). This sort of vanguardist stuff wasn't the major reason the
poll tax was defeated, but it must have helped a bit.
(Incidentally, has the humiliating defeat of the Poll Tax ever been
reported properly in the American media? Since it was the biggest
climbdown by the government of a major power since the US pullout of
Vietnam, and the biggest mass resistance movement in the UK since the
Chartists in the 1840's, there isn't much excuse for ignoring it).
Craig Cockburn
In article <Nov.5.13.41....@andromeda.rutgers.edu>, d...@andromeda.rutgers.edu (Daniel Rosenblum) writes...
>In <1992Nov2.1...@gssec.bt.co.uk> cwi...@gssec.bt.co.uk
>(Colin Wilson) laments the use of apostrophes in Craig Cockburn's
>posting of the words to "Freedom Come All Ye". I'm entirely
>sympathetic to Mr. Wilson's point. (As someone who has a passing
I've checked my edition of "Lallans" (the magazine of the Scots language
society) and also the concise Scots dictionary (Aberdeen University Press),
and Colin's right in that the use of the apostrophe seems to have
dramatically reduced. I hadn't actually been aware that there had
been an attempt to change Scots in this way, and I thank Colin for
pointing this out. I presume the Scots bible and thesaurus also use
the new convention.
Colin Matheson
>a commitment not to pay it by 100 well-known Scots; I can't remember if
>Gaughan was one, but I'd have expected him to be if he still lives here
>(does he?).
I don't know if Dick Gaughan paid the poll tax or not, but he
certainly lives in Edinburgh. In response to some other questions
about what he's up to these days, he's doing a lot of record
production, and has set up a small studio in Edinburgh alongside Hart
Street. He spends a fair bit of time with Clan Alba, a kind of
Scottish folk "supergroup", and he's still touring extensively. He
was in Canada (Vancouver) recently, which is unusual for him as he's
terrified of flying. Hence his lack of appearances in North America.
Colin
--
Colin Matheson Phone: +44 31 650 4413 | Centre for Cognitive Science
Fax: +44 31 650 4587 | University of Edinburgh
JANET: co...@cogsci.ed.ac.uk | 2 Buccleuch Place
or Colin.M...@edinburgh.ac.uk | Edinburgh EH8 9LW Scotland
Alexander Darroch Macgillivray
hey all,
i'm new too rec.folk but i was wondering if anyone knew where MCC was
touring at the moment. Also does anyone know if she allows bootlegging
and, if so does anyone have any bootlegs of memorable shows. I'm fairly
new to her (my girlfriend just introduced me) but would like to know
more and hear her in concert.
please e-mail me with any and all info.
thanks in advance,
alex.
"Even a blind man knows when the sun is shining"
mac...@phoenix.princeton.edu or macgill@pucc
Patricia S. Palmiere
will help you or not, but if you want the box office number--let me know,
I can get it to you. There is the distinct possibility, however, that she
is sold out.