Big Gold Dream broadcast on BBC 2 last night discussed the Edinburgh & Glasgow post-punk scene. It featured interviews with Clermiston’s own Tam Dean Burn, Russell Burn, and Davey Henderson.
Craigmount High, cultural hothouse
You might laugh when I say this, but Craigmount High in the seventies produced some pretty amazing people. Big Gold Dream featured three of them: actor Tam Dean Burn, his brother Russell, and Davy Henderson who were responsible for groups such as the Dirty Reds, the Fire Engines and the Sexual Objects. Tam later became better known as an actor, but he was a rock musician back then too. There were some amusing anecdotes on the documentary – including how one of them had to trap and sell rabbits from Corstorphine Hill in order to pay for his first guitar. And how he still owes them money.
Although they were not featured on the documentary, it is worth mentioning that they were not the only significant people to attend Craigmount around this time. Others included:
- Artist and photographer Colin Jarvie (1962-2012)
- Novelist Louise Welsh (1965-)
- Poet Elizabeth Burns (1957-2015)
As you can see, a lot of these folk were contemporaries or near contemporaries. Craigmount had a particularly well respected drama department back then headed up by Ken Morley.
Big Gold Dream
Every music documentary raises more questions than answers. What is the actual difference between post-punk and New Wave anyway? Is there one? Are they just punks in denial? Big Gold Dream never answered this. There were quite a few of the usual tropes you find in such documentaries – the messanic messages (music was crap until whoever it was came along), middle aged rock stars wearing sunglasses indoors (two of them in this case) and of course the messages about how drab Edinburgh was in the 1970s… just to hit the last point home, there was some grainy footage of Edinburgh shown, most of it apparently shot fairly recently. I was amazed though that no one moaned about prog rock on the programme – I thought that was practically obligatory on punk docs.
The drabness of the Scottish seventies seemed to carry over into most of the groups’ dress sense. Even today, many of those being interviewed appear to wear sombre clothes – greys and blacks, like mourning clothes. The clip of the Rezillos offered some brief respite from this drabness. It is a drabness which still exists today, particularly in a lot of Edinburgh’s grey social housing. Edinburgh’s quasi-mods Josef K featured, still playing the rock star game (Franz Ferdinand would have been nothing without them and Gang of Four.)
There were some dubious claims too, e.g. that Scotland had invented indy music, or that punk rock had come and gone in the mid to late 1970s. Both of these can be easily debunked. Punk’s still here. Punk was around in the early seventies. There even used to be an old man who wandered around Edinburgh with a leather jacket saying “punk’s not dead” until a few years ago. As for indy, that was already in existence by the time this crowd came along. That honour probably goes to various American and English groups – the Damned’s indy single New Rose charted back in ’77.
Class was only mentioned once: Tam Dean Burn was keen to mention the working class credentials of the Edinburgh scene versus the more “middle class” Glasgow one. Coincidentally, the heavy role that the College of Art played in the whole thing was played down, although we did keep seeing shots of Keir Street (which i just behind it)
And one of my pet peeves – the annoying Central Belt habit of saying “West Coast” and “East Coast” reared its head. Whenever I hear that I tend to think of Oban and Aberdeen, but no, in this part of the world, people just mean the small bits of Scotland around Glasgow and Edinburgh. Strangely, none of the Fife and Dundee bands of this period were featured although they included such giants as the Skids. Edwyn Collins was absent, no doubt due to his stroke issues, although he was featured heavily in the promo materials and Orange Juice was mentioned a number of times.
Don’t go back
There is always something faintly ridiculous about older people trying to relive their teens. Given that I’m knocking on the door of middle age myself, and some of the people featured in this documentary are technically old enough to be my parents – and the grandparents of young adult children – you might see why none of this was really my scene.
It is always a pet peeve of mine that whenever I go to look up bands from the sixties, seventies and eighties on Wikipedia or Youtube, you see them in their more recent incarnations. I’m not really interested in seeing reunion tours. Blues, folk and jazz musicians can get away with it, but not punk rockers. Big Gold Dream spared us some of that. I made a rare exception for the Scars a few years ago in the Picture House. They were pretty impressive, their support bands not so much. Irvine Welsh was hanging around at the bar, bemused at the attention some of his younger fans were giving him. I said hello to Joe Callis out in the corridor…
My main memory of that Scars gig was a woman with a John Lewis bag slung over her shoulder.
There is a good parallel between post-punk of this period, and the scenes of America’s Pacific North West a few years later. Seattle, Portland and Aberdeen were drab, industrial, rainy port towns.
I think Big Gold Dream missed a trick here. A direct line can be drawn connecting the two, through bands such as the Vaselines, which Nirvana’s Kurt Cobain loved. Nirvana always had an interest in Scottish music, which in a round about way is how Shirley Manson migrated from Goodbye Mr Mackenzie into the internationally successful Garbage.
A major difference though is that Washington and Oregon had their own TV stations and proper media, something which has more or less evaded Scotland for the last few decades.
But grunge? Going into all that would prove that punk was still alive and kicking well after the seventies, something Big Gold Dream didn’t want to admit.