Where Are They Now?
A timely appearance, on the eve of his latest album release, sees original runrig founding member, blair douglas, step up to the interrogation room. Blair chats about his musical life and times, together with some observations on the current state of play… celtic musically speaking.

Starting up the band
YOUR HOME IN GLASGOW AND YOUR MUM, INA, HAVE BEEN TWO OF THE MOST SIGNIFICANT FACTORS IN THE BIRTH OF RUNRIG. WHAT ARE YOUR MEMORIES OF THESE FIRST GETTOGETHERS?
We moved to Glasgow when I was 15 – it was then I started playing the accordion. Calum and Rory were living not far from our flat and I remember they would call round. I think my mum suggested that Rory and I should get together and start a band – Rory had already been playing with the Skyevers in Skye – we talked about the idea and decided we would need a drummer – Calum was ‘talked’ into going out and buying a second-hand kit – that was the start of RunRig!
Re the name – I was at school at the time, studying 6th Year studies in Gaelic – I had to write an essay on Crofting in the Highlands. The ‘Runrig’ system of farming was featured and I think this is where the name came from. I can remember going down to see Rory and Calum and hearing this ‘racket’ from the basement of their flat – Calum rehearsing!
THAT FIRST YEAR WITH RUNRIG MUST HAVE BEEN A SPECIAL TIME, WHAT ARE YOUR MEMORIES OF IT?
We were very much a ceilidh band – traditional dances such as the Canadian Barn Dance/Eightsome Reel etc. The next problem was, we didn’t have a singer – Rory wouldn’t sing then! Calum was again ‘talked’ into taking on vocal duties. Band outfits were decided – black trousers, purple shirts, and bow ties. Our first gig was a North Uist and Berneray Ceilidh Dance in the Kelvin Hall. Rock 'n’ Roll rebellion was in the air when Rory refused to wear his bow tie! I always thought we could have made it big in the dinner-dance circuit – but I guess we blew it!
We played mainly during the student/school holidays – I think our first ever gig in Skye was in Waternish Hall – without Rory. I supposed it must have caused a bit of a stir as, apart from Rory, Calum and I were musical unknowns! One thing that strikes me now is the number of dances there were during a summer week. It was still the days of the ‘village hall’, and there was a dance somewhere on the island, Monday to Saturday – Portree, Waternish, Uig, Skeabost, Dunvegan, Carbost, Broadford, Kyleakin, Ardvasar.
WE BELIEVE THAT THE RUN-RIG DANCE BAND DID A MEAN VERSION OF SNOOPY VERSUS THE RED BARON AT THE DANCES. WHAT WAS THAT ALL ABOUT?
From what I can remember it was a bit of a hit – quite why, I’ll never know! The one thing I do recall is that Calum wrote words to the tune – about the Skye Gathering Hall keeper in Portree – Donald MacAskill – ‘Donald the Hall’, as he was known. It would be good to hear it again! We did a few ‘dodgy’ numbers in these days – the other classic was an instrumental called Popcorn, which I played on the electronic accordion – desperate! I think though that the highpoints were undoubtedly Calum’s rendition of Memphis Tennessee, and my own ‘singing’ on Johnny B Goode. I would say probably the best ever renditions of these songs. Why they were never recorded and released still baffles me – maybe something to do with being out of tune, off key, and life threatening!! Chuck Berry would never speak to us all again.

Early musical influences
WHAT MADE YOU GET STARTED IN MUSIC AND WHAT WERE YOUR EAR LIEST INFLUENCES?
My mum in particular was a major influence – she was a really good Gaelic singer, and pianist, and was also involved in conducting Gaelic Choirs. In the days before television came to the islands, that was the entertainment! I didn’t start playing until I moved to Glasgow to live – 15 years old. I remember going to a ceilidh dance with my parents and hearing a Lewis box player – Neil Macleod (Keose), and John Carmichael playing – I asked my folks for an accordion and it’s been downhill ever since! When I started playing, I was listening to accordionists such as Bobby Macleod, Will Starr.
THE EARLY 70s MUST HAVE BEEN A CHALLENGING TIME FOR TRADITIONAL/FOLK MUSIC AS IT STARTED TO GET PULLED INTO THE MAINSTREAM – DID YOU WANT TO BE PART OF THAT PROCESS?
Musically, the 1970s was a ‘golden’ period for rock – Hendrix, et al. The whole ‘folk/rock’ genre was completely new – marrying electric guitars/drums/ bass with traditional instruments was fresh and exciting – and not without its critics! I remember Rory had an LP called Morris On – English Morris dance tunes rocked up with drums/bass/electric guitars – Ashley Hutchings and John Kilpatrick were the forces behind it – we all thought that this was the way to go with our own music. I’m not aware of anyone else in Scotland at that time that was playing ceilidh music in this contemporary style. Bands such as Fairport Convention had a major influence on us all – I remember we used to play their instrumental, Lark in the Morning in the early days. Also East of Eden who had a hit with the instrumental Jig-a-Jig, another tune we used to attack!
WHEN DID YOUR OWN ASPIRATIONS AS A WRITER AND COMPOSER DEVELOP?
I didn’t really get into writing/composing until relatively late on. Certainly I remember both Rory and Calum were into that, even before the band started. When the band went full time, after the release of Play Gaelic in 1978, I can remember us doing a couple of my own songs in the set. I was definitely a ‘late developer’ as they say. I think it is harder for a solo artist writing/composing – you are very much on your own – feedback and opinion are really needed. Looking back, I have to say, is not something I’m particularly fond of – but, when you think about it all, it is remarkable and very special, what we have all achieved – Rory, Calum, Malcolm, Donnie Munro, and myself. Five Skye boys who were in the same place/ same time – one of life’s twists of fate I suppose.

The Cajun connection
YOU HAVE HAD A LIFELONG PASSION FOR CAJUN MUSIC. WHEN WERE YOU FIRST DRAWN TO IT AND WHAT WITHIN IT CONTINUES TO INSPIRE YOU?
Cajun music to me has very strong links with our own Gaelic music – it is a Celtic music. I think my first real encounter was through the Zydeco accordionist, Clifton Chenier – I remember going into a Glasgow record shop and trawling through the American Import section – LP’s in these days. I came across this album called Bon Ton Roulet, with a photo of a black guy with an accordion on the cover, and thought – what the hell is this!! I read the sleeve notes and decided to buy it – one of the best decisions I ever made! Other artists like The Band, and guitarist Richard Thompson, during his time with Fairport, used Cajun influences – I can remember that. The history of the Cajun people has many similarities to that of the Gael – persecution, ridicule, and suffering. For me it is a very honest and simple music form – it is straight from the heart – we share common song themes – love of melancholy, memories of its people and places, stories of lost love, of loved ones separated. Cajun music has been one of the primary forces behind the Cajun cultural resurgence, giving Cajuns a focus for movements to recover pride in their culture and to maintain the distinctiveness of Cajun culture. Cajun people have tremendous pride in, and respect for, their music and their musicians – something that doesn’t exist in Scotland/Gaeldom.
Cajun music has also refused to conform to the values that the outside world tries to impose upon them. It has absorbed outside musical influences such as country, bluegrass etc and adapted them to fit within their indigenous style. Also being accordion and fiddle based, it has a musical attraction. I feel strongly that music should be a major life force of the Gaelic culture. If you can identify with the music you can identify with the people – the music is a reflection of their lives, their joys and sorrows. It is vital to the continuation of any culture. Gaelic Music to me, should be at the forefront of the cultural revival – it should promote and emphasis a sense of identity. I don’t believe that Runrig, and Calum and Rory in particular, have been given proper recognition and acclaim.
There is an old Gaelic saying which I always think is so relevant: “Pos,’s cainear thu, basaich’s molar thu”. If you want to be miscalled, get married; if you want to be praised, die. I think it is a pity that we do not praise people as much when they are alive as we do when they die.
AFTER RUNRIG YOU WORKED WITH MANY SIGNIFICANT, GROUND BREAKING BANDS. CAN YOU TELL US ABOUT THEM?
I rejoined the band when they went full time in 1978 – I had just graduated from University and didn’t fancy a career as an economist! I lasted about six months I think – the band was changing from a “dance based” band to a “concert style” one. It was a very difficult time for us all I think – there was a lot of mutterings about us not playing for dances and being above that sort of thing! I also think in retrospect, that my leaving was the best thing, musically and artistically – particularly for Rory and Calum – I think they found their “freedom” so to speak, and more space to create and develop their writing talents.
Later, there were bands such as Clann Chaich, with Na H-Oganaich member, Noel Eadie, and the Electric Ceilidh Band, with Jim Wilkie, and the legendary Neil Campbell (Macbeat), from Portree. One thing I remember – every time we played in Portree, this young, long haired, schoolboy would come and stand below Neil, and watch him playing – then disappear into the night. I asked my cousin ‘Curly’ from Lochmaddy, who was at school in Portree, who the guy was – “his name is Malcolm Jones, he’s learning to play guitar!!” If only I had acted then, I could have put him right!
Working with Arthur Cormack led to involvement in the Gaelic bands, (sorry, ‘Supergroups’), MacTalla, and later, Cliar. By this time I had gotten more into writing and composing, and had recorded two of the solo albums.
WHAT TO DATE HAS BEEN YOUR MOST SIGNIFICANT MOMENT/ACHIEVEMENT WITHIN MUSIC?
That’s a very hard one. In terms of a general thing, it would have to be being a founder member of Run-Rig!!
Although I’ve not been a band member for a long time, I would still like to think of myself part of the group.
There are a lot of things that I’m proud of and honoured by – visiting Ground Zero in New York and being allowed into the site; seeing the ‘family room’, with poems and letters left by the children of the firefighters and police that died, was particularly moving.
Playing Angels From The Ashes in New York a couple of years back, with pipe bands and the band, was particularly memorable and powerful. It was one of those ‘never to be forgotten’ moments for me. And others like my tunes being used at the Edinburgh Military Tattoo. I was honoured in being asked to play the organ at Sorley MacLean’s funeral in Portree. I think without doubt, the greatest achievement for any writer or composer is when your music or song gives a person enjoyment, comfort, and strength – music has a wonderful power and is a unique gift.

The Trad music scene
AS AN INSTRUMENTALIST AND LECTURER AT THE PLOCKTON MUSIC SCHOOL YOU ARE UNIQUELY PRIVILEDGED TO BE AT THE FOREFRONT OF THE DEVELOPMENTS HAPPENING WITHIN TRADITIONAL MUSIC OVER THE PAST YEARS. HOW HAVE THEY AFFECTED HIGHLAND TRAD MUSIC AND CULTURE?
I’ve been teaching at Plockton since it started. Dougie Pincock has done a great job in firstly establishing and then consolidating the Centre of Excellence (really bad name I have to say!). The opportunities that exist now for youngsters with regard to traditional music are wonderful. Traditional music just didn’t exist in my days at Portree High School – a recorder and a couple of English folk songs were the ingredients then! One thing that needs to be addressed is the lack of knowledge that young musicians have of the ‘tradition’ – what exactly it is – why they play and sing the tunes/songs – the role of tradition bearers. There is a large void in their understanding and all-round musicianship. The focus in Plockton has centred mainly on the teaching of tunes and songs – hopefully more will be done on these other aspects of the tradition.
The other thing I feel that is lacking is the ‘soul’ element – we have many talented and skilled performers now, but few who possess that vital ingredient. To truly play or sing, you have to ‘feel’ the music and go beyond the set of notes/lyrics.
The other great success story has been the Feis movement which has provided many opportunities for young musicians and singers. I think it is important for the younger generations to realise that you can still enjoy, and play a part without having to be a professional artist – traditional music is about more than making CD’s and becoming a ‘name’.
I actually think that on the west coast, the accordion and fiddle scene has actually suffered in the past decade. When I started, you learned your musical discipline through playing for dancing – too fast, and you soon were told! Nowadays, there are too many who rely on speed for effect and there is reluctance for many young musicians to play for dancing – it not being a ‘cool’ thing to do.
The one area which has been sadly neglected is song writing – new songs, instrumentals, poems etc, are the oxygen of any indigenous culture. Much more has to be done on this side of the tradition.
I believe Cajun fiddler and cultural ambassador Dewey Balfa summed it up perfectly when he said: “Cajun music is like a tree. Its roots have to be watered or it will die. But watering the roots is not all. If a tree is alive, it will grow, and that growth is important too”.

The New Album
FINALLY, THE NEW ALBUM, STAY STRONG – BITHIBH LAIDIR/RESTER FORT, IS RELEASED SOON. ARE YOU SATISFIED WITH THE WAY IT HAS TURNED OUT?
I am extremely happy with the album. It is always hard, when working as a solo artist, to know if the material is up to standard. You rely a lot on your own instincts and hope for the best! The singers and musicians have all been wonderful and Robin Rankin has done a brilliant job on the production side as well. When you are working with real talent, it is much easier to achieve your musical goals. I suppose now it’s a case of – ‘let the people decide!!’
AN AMBITIOUS PROJECT FROM THE OUTSET, CAN YOU GIVE SOME BACKGROUND?
The recording process began about a year ago. Sound designer Robin Rankin co-produced it with me – I really enjoy working with him. He's done a top class job on the recording and production. I decided to go with more songs this time round, and we have brought in different vocalists – Rory, Bruce, Michael Marra,
Eddi Reader, Kathleen MacInnes, Arthur Cormack, and Cookie Rankin from the Rankin Family in Cape Breton. There’s a strong Cajun/Louisiana influence to the material – I have also used the New Orleans NightCrawlers brass section, and members of the Cajun band, L’Angelus, on one song. Recordings have taken place in Skye, Glasgow, Orkney, Sweden, Louisiana, Nashville, and Nova Scotia!
ALSO SOME OTHER NOTABLE PLAYERS?
Yes, the instrumentalists also include – Gordon Gunn (fiddle), Colin Tully (sax – Colin was a member of seminal Glasgow band Cado Belle), Gary West (pipes), Dougie Pincock (whistles), Eddie McGuire (alto flute), Mairi Rankin, and Wendy MacIsaac, (Cape Breton fiddlers). I’m also pleased to say that Malcolm features on it as well, plus my own children, Iain and Ceitidh!
YOUR THINKING BEHIND THE ALBUM TITLE?
The album is called Stay Strong – Bithibh Laidir/Rester Fort. Hopefully this reflects the general theme running through the album, and echoes this sentiment, Bithibh Laidir and Rester Fort being the respective Gaelic and French translations of Stay Strong.
AND THE TRACKS?
Tracks include: Martyn in Mind – written in memory of musician, Martyn Bennett; Soldier’s Lullaby –written for Rose Gentle, whose son Gordon was killed in Iraq; Tonn nan Deur (Wave of Tears) – in memory of the family members who died in Uist during the great storm of 2005; Baile Mabou, nam Mìle Bàidh, (Mabou of the Boundless Hospitality); Rester Fort, la Nouvelle Orleans – Stay Strong, New Orleans. I wrote it in French, a new experience for me!