1 00:00:01,000 --> 00:00:04,560 # This is the story of our first teacher 2 00:00:04,560 --> 00:00:07,600 # Shetland made her jumpers and the devil made her features... # 3 00:00:07,600 --> 00:00:09,680 The Proclaimers are... 4 00:00:09,680 --> 00:00:12,800 Authentic, powerful, brilliant. 5 00:00:13,960 --> 00:00:16,120 # It's over and done with... # 6 00:00:16,120 --> 00:00:17,240 Creative. 7 00:00:17,240 --> 00:00:19,600 Happy, exciting. 8 00:00:19,600 --> 00:00:20,760 And loud. 9 00:00:21,920 --> 00:00:23,560 Strident, fearless. 10 00:00:23,560 --> 00:00:26,120 Full-tilt soulful rock and roll. 11 00:00:26,120 --> 00:00:27,280 Total soul music. 12 00:00:28,520 --> 00:00:29,720 And Scottish. 13 00:00:38,880 --> 00:00:41,120 # I've been so sad 14 00:00:41,120 --> 00:00:44,360 # Since you said my accent was bad 15 00:00:44,360 --> 00:00:46,040 # He's worn a frown 16 00:00:46,040 --> 00:00:48,640 # This Caledonia clown... # 17 00:00:48,640 --> 00:00:51,240 30 years ago, the world of pop music 18 00:00:51,240 --> 00:00:53,520 was turned upside down and inside out 19 00:00:53,520 --> 00:00:56,560 with the release of The Proclaimers' debut album, 20 00:00:56,560 --> 00:00:58,520 This Is The Story. 21 00:00:58,520 --> 00:01:01,080 # If I flattened all the vowels And threw the R away... # 22 00:01:01,080 --> 00:01:03,600 For identical twin brothers from Auchtermuchty, 23 00:01:03,600 --> 00:01:05,360 it was an unlikely success, 24 00:01:05,360 --> 00:01:08,960 and propelled Craig and Charlie Reid to stardom. 25 00:01:08,960 --> 00:01:11,360 The Proclaimers! 26 00:01:11,360 --> 00:01:13,400 CHEERING 27 00:01:13,400 --> 00:01:16,880 Here come the greatest band in the world, The Proclaimers! 28 00:01:16,880 --> 00:01:18,480 CHEERING 29 00:01:18,480 --> 00:01:20,560 # I would walk 500 miles... # 30 00:01:20,560 --> 00:01:24,360 Since then, The Proclaimers have gone from strength to strength, 31 00:01:24,360 --> 00:01:26,320 touring, writing, touring, 32 00:01:26,320 --> 00:01:28,440 releasing album after album, 33 00:01:28,440 --> 00:01:30,320 becoming cartoons, touring, 34 00:01:30,320 --> 00:01:33,600 having their songs adapted into a musical and film, 35 00:01:33,600 --> 00:01:35,600 and, of course, touring. 36 00:01:38,280 --> 00:01:41,520 # I wanna spend my life with you... # 37 00:01:46,160 --> 00:01:48,800 I'm a huge fan. I've bought every album 38 00:01:48,800 --> 00:01:51,200 and seen them live countless times over the years. 39 00:01:51,200 --> 00:01:53,640 I even had Life With You played at my wedding 40 00:01:53,640 --> 00:01:55,640 as I walked down the aisle. 41 00:01:55,640 --> 00:01:58,320 They never fail to make my heart fly - 42 00:01:58,320 --> 00:02:00,720 and so I was delighted to meet up with them 43 00:02:00,720 --> 00:02:02,720 to look back at their story so far. 44 00:02:02,720 --> 00:02:04,920 Craig and Charlie, hello. Hello. Hello. 45 00:02:04,920 --> 00:02:08,480 What was the first Proclaimers song, do you remember? Maybe Misty Blue? 46 00:02:08,480 --> 00:02:11,040 Misty Blue, that was one of the first ones, 47 00:02:11,040 --> 00:02:12,480 Misty Blue was one of the first ones. 48 00:02:12,480 --> 00:02:14,760 That's funny, I can't even remember. 49 00:02:14,760 --> 00:02:17,800 Might have been Over And Done With, it could have been. Yeah. 50 00:02:17,800 --> 00:02:19,960 That was one of my Desert Island Discs. 51 00:02:21,480 --> 00:02:23,200 And so you just sort of, 52 00:02:23,200 --> 00:02:26,760 you got, you got a kind of cache of songs together 53 00:02:26,760 --> 00:02:28,640 and took them to local pubs, or what? 54 00:02:28,640 --> 00:02:31,800 Yeah, we tried, we tried pubs, we tried getting gigs, 55 00:02:31,800 --> 00:02:35,120 we didn't, we got very few gigs, very few. 56 00:02:35,120 --> 00:02:38,840 We got a gig in Nicky Tams, a pub in Edinburgh. 57 00:02:38,840 --> 00:02:41,160 Did that show, did that gig for a few weeks, 58 00:02:41,160 --> 00:02:42,840 a few months or something - 59 00:02:42,840 --> 00:02:45,680 and then we met Kenny MacDonald, who's still our manager, 60 00:02:45,680 --> 00:02:47,160 and he became our manager, 61 00:02:47,160 --> 00:02:48,760 and then it started, 62 00:02:48,760 --> 00:02:52,760 everything that was not being sorted out started to be sorted out. 63 00:02:52,760 --> 00:02:55,280 You were seeing it as a career, it wasn't just something... 64 00:02:55,280 --> 00:02:56,920 It was something, not... 65 00:02:56,920 --> 00:03:00,480 I've never really seen it as a career. Oh, right, even now? 66 00:03:00,480 --> 00:03:03,880 No, no. It's something...it is something that claims you, 67 00:03:03,880 --> 00:03:06,960 and you don't, you don't know how you're going to get there, 68 00:03:06,960 --> 00:03:09,160 you don't know what it's going to sound like - 69 00:03:09,160 --> 00:03:13,240 but you know that's what you want to do, that's the first thing, 70 00:03:13,240 --> 00:03:14,880 that's the number one thing, 71 00:03:14,880 --> 00:03:17,880 is play music and everything else has just got to fit in with that. 72 00:03:17,880 --> 00:03:19,960 And where does Kevin Rowland come into it all? 73 00:03:19,960 --> 00:03:24,320 We'd seen Dexys on the very first UK tour that they'd done, 74 00:03:24,320 --> 00:03:26,120 at the very start of 1980. 75 00:03:28,200 --> 00:03:32,880 # Back in '68 in a sweaty club 76 00:03:32,880 --> 00:03:35,160 # Oh, Geno... # 77 00:03:35,160 --> 00:03:37,280 I remember seeing them down the front of the stage 78 00:03:37,280 --> 00:03:40,640 at the very first gig, which I think was Edinburgh, 79 00:03:40,640 --> 00:03:42,120 and... 80 00:03:42,120 --> 00:03:44,360 Because you can't miss them, you know, 81 00:03:44,360 --> 00:03:47,880 two guys who look very similar with glasses. 82 00:03:47,880 --> 00:03:50,800 And... Great look. 83 00:03:50,800 --> 00:03:53,680 And of course, the following night, and I thought, 84 00:03:53,680 --> 00:03:55,560 "Oh, those two guys are down the front again." 85 00:03:55,560 --> 00:03:58,880 # I'll only ask you once more... # 86 00:03:58,880 --> 00:03:59,960 They came on stage, 87 00:03:59,960 --> 00:04:02,400 it was something we weren't expecting, 88 00:04:02,400 --> 00:04:04,680 it was like being hit by a truck. Right. 89 00:04:04,680 --> 00:04:07,360 It was kind of breathtaking how good they were. 90 00:04:07,360 --> 00:04:09,680 How... How unusual they were. 91 00:04:09,680 --> 00:04:13,200 We went backstage after, said hello to people, and met Kevin Rowland, 92 00:04:13,200 --> 00:04:16,600 and we just went to Dexys shows after there, kept in touch. 93 00:04:16,600 --> 00:04:22,120 # This man is looking for someone to hold him down... # 94 00:04:22,120 --> 00:04:24,320 We became friends, and they would come down, 95 00:04:24,320 --> 00:04:28,520 and we'd have these long discussions into the night, you know. 96 00:04:28,520 --> 00:04:30,520 And they were very political. 97 00:04:30,520 --> 00:04:33,640 They were very vocal in what they thought - 98 00:04:33,640 --> 00:04:36,280 and you couldn't win an argument with them, 99 00:04:36,280 --> 00:04:38,320 because there was two of them. 100 00:04:38,320 --> 00:04:43,600 But incredible passion, and... and, you know, they inspired me. 101 00:04:43,600 --> 00:04:47,120 To me, they were like a conscience, to me, you know? 102 00:04:47,120 --> 00:04:49,960 They were like... because they were so honest, 103 00:04:49,960 --> 00:04:54,320 and they were so genuine, and they were so not willing to compromise. 104 00:04:54,320 --> 00:04:56,440 He kind of helped us out down the years, 105 00:04:56,440 --> 00:04:58,440 putting us in contact with people. 106 00:04:58,440 --> 00:05:00,720 Giving us demo time. 107 00:05:00,720 --> 00:05:03,160 Yeah, they came down to Birmingham 108 00:05:03,160 --> 00:05:05,360 for a couple of days and we recorded some demos. 109 00:05:05,360 --> 00:05:07,760 I think I booked a couple of days in the studio, 110 00:05:07,760 --> 00:05:10,360 because I'm just used to that, demos taking a bit of time, 111 00:05:10,360 --> 00:05:14,200 and I think I sort of dropped them off at the studio, 112 00:05:14,200 --> 00:05:17,160 went in, introduced them to the bloke and I went off somewhere. 113 00:05:17,160 --> 00:05:19,800 Came back about an hour later, and they were like, "We're done." 114 00:05:19,800 --> 00:05:23,960 Like, oh, OK! I listened to them and they were great, you know? 115 00:05:25,520 --> 00:05:27,280 So he helped you get a demo together, 116 00:05:27,280 --> 00:05:29,560 and it was that demo that made it to Paul Heaton? 117 00:05:29,560 --> 00:05:31,120 Yes, it was, yes. Yes, it was. 118 00:05:31,120 --> 00:05:33,000 "LETTER FROM AMERICA" PLAYS ON TAPE 119 00:05:36,760 --> 00:05:42,040 # When you go, will you send back 120 00:05:42,040 --> 00:05:45,800 # A letter from America 121 00:05:45,800 --> 00:05:51,480 # Take a look up the rail track 122 00:05:51,480 --> 00:05:55,720 # From Miami to Canada... # 123 00:05:55,720 --> 00:05:58,840 This is the same tape recorder we had in the van, 124 00:05:58,840 --> 00:06:01,480 which was our stereo system in those days. 125 00:06:02,880 --> 00:06:06,880 We used to get a lot of demos sent to our, sort of, postbox address, 126 00:06:06,880 --> 00:06:08,400 and we'd let them build up, 127 00:06:08,400 --> 00:06:10,840 and then when we went away, The Housemartins, 128 00:06:10,840 --> 00:06:15,240 we'd take all the cassettes with us and play them in the van. 129 00:06:15,240 --> 00:06:20,760 So, yeah, sometime in early '86, late '85, their demo got played, 130 00:06:20,760 --> 00:06:25,640 in a...you know, like a battle of the bands inside the van. 131 00:06:25,640 --> 00:06:27,560 It took me by surprise straight away, 132 00:06:27,560 --> 00:06:31,320 because half the stuff you heard, it was the '80s, you know, 133 00:06:31,320 --> 00:06:33,960 it was right bang in the middle of the '80s - 134 00:06:33,960 --> 00:06:36,320 and it just struck me as being very different. 135 00:06:36,320 --> 00:06:40,640 I couldn't work out where... where their roots were. 136 00:06:40,640 --> 00:06:43,400 Which was great, you know, because most bands you could say, 137 00:06:43,400 --> 00:06:45,560 oh, they're trying to sound like The Smiths 138 00:06:45,560 --> 00:06:48,400 or trying to sound like Spandau Ballet, or whatever - 139 00:06:48,400 --> 00:06:50,200 but with them, you couldn't. 140 00:06:50,200 --> 00:06:53,240 So that's, straightaway, that stuck them out. 141 00:06:53,240 --> 00:06:55,320 I suggested, you know, like, 142 00:06:55,320 --> 00:06:59,520 this band are too good just to, sort of, be in the van. 143 00:06:59,520 --> 00:07:00,760 They're better than this. 144 00:07:00,760 --> 00:07:04,000 You tell the story. Yeah, somebody got in contact with us 145 00:07:04,000 --> 00:07:07,680 and said that The Housemartins had mentioned us 146 00:07:07,680 --> 00:07:09,640 on the Janice Long show, 147 00:07:09,640 --> 00:07:13,960 the review thing that she did on a Friday evening, and it was like... 148 00:07:15,320 --> 00:07:18,240 "What?" You know, kind of the strangest thing in the world. 149 00:07:18,240 --> 00:07:21,240 For some reason, we were able to get in contact with them 150 00:07:21,240 --> 00:07:25,160 and we went down to Hull and spent a Friday night with them 151 00:07:25,160 --> 00:07:27,160 in the hostelries, some of the hostelries, 152 00:07:27,160 --> 00:07:29,680 I think it was pretty much all the hostelries of Hull. 153 00:07:29,680 --> 00:07:30,880 Had a drink with them, 154 00:07:30,880 --> 00:07:34,480 I think that was to find out if we would be suitable. 155 00:07:34,480 --> 00:07:36,520 To go on the road with? Aye, right. 156 00:07:36,520 --> 00:07:40,920 So, they supported us in '86, travelled all over with us. 157 00:07:40,920 --> 00:07:44,480 # It could be tomorrow it could be today 158 00:07:44,480 --> 00:07:48,200 # The sky takes the soul the earth takes the clay... # 159 00:07:48,200 --> 00:07:51,960 First gig was in the Hummingbird at...Birmingham. Yeah. 160 00:07:51,960 --> 00:07:54,800 And probably the most scared we've ever been in our lives. 161 00:07:54,800 --> 00:07:59,120 We'd never played to anything more than probably 50 people - 162 00:07:59,120 --> 00:08:01,960 and you were on stage, and that was a big venue, in Birmingham, 163 00:08:01,960 --> 00:08:03,640 it was a couple of thousand people. 164 00:08:03,640 --> 00:08:06,800 And nobody in that audience knew who you were? No. Clueless. 165 00:08:06,800 --> 00:08:09,440 We thought we'd get bottled off every night. Yeah. Right. 166 00:08:09,440 --> 00:08:12,360 And we didn't, you know? 167 00:08:12,360 --> 00:08:14,720 Yeah, it was a strange experience overall. 168 00:08:14,720 --> 00:08:17,920 # If it's tomorrow oh, if it's today... # 169 00:08:17,920 --> 00:08:20,440 You've never seen anything like it, because you don't, 170 00:08:20,440 --> 00:08:23,040 you don't know, you see it on telly and you go to gigs yourself, 171 00:08:23,040 --> 00:08:25,280 and then to actually be up there 172 00:08:25,280 --> 00:08:31,320 in front of hundreds or maybe 1,000 or 2,000 people, it's... 173 00:08:31,320 --> 00:08:33,640 I'm kind of glad we did it when we were young. 174 00:08:33,640 --> 00:08:37,640 I wouldn't fancy breaking through when you're 55. Yeah. 175 00:08:37,640 --> 00:08:40,960 What, because you're fearless about it? You don't... You're fearless. 176 00:08:40,960 --> 00:08:44,160 # I've never been here... # 177 00:08:44,160 --> 00:08:47,640 Yeah, they were brilliant, absolutely brilliant live. 178 00:08:47,640 --> 00:08:51,680 And the next step was to get them to make records 179 00:08:51,680 --> 00:08:53,880 that would convince the public. 180 00:08:53,880 --> 00:08:55,920 So we put them in touch with John Williams. 181 00:08:55,920 --> 00:08:58,840 # What a good place to be don't believe it 182 00:08:58,840 --> 00:09:00,680 # Cos they speak a different language 183 00:09:00,680 --> 00:09:02,440 # And it's never really happened to me... # 184 00:09:02,440 --> 00:09:05,080 I was producing The Housemartins. 185 00:09:05,080 --> 00:09:08,680 They told me about this band called The Proclaimers, 186 00:09:08,680 --> 00:09:11,080 and showed me this cassette. 187 00:09:11,080 --> 00:09:15,520 Which I've brought with me, which is the famous red cassette. 188 00:09:15,520 --> 00:09:21,080 And I listened to it and I thought, "Wow, these guys are amazing." 189 00:09:21,080 --> 00:09:25,280 # Yeah, it's over and done with it's over and done with... # 190 00:09:25,280 --> 00:09:28,840 They'd obviously been brought up on the Beatles and country music, 191 00:09:28,840 --> 00:09:31,080 but there were shades of rock and roll 192 00:09:31,080 --> 00:09:33,320 and lyrically, they were sublime - 193 00:09:33,320 --> 00:09:38,000 and I just thought, these kind of artists don't come around 194 00:09:38,000 --> 00:09:41,600 every single day of the week, I must get involved with this. 195 00:09:41,600 --> 00:09:43,920 I flew them down to London - 196 00:09:43,920 --> 00:09:47,400 and this was the first time they'd ever been on an aeroplane, in fact - 197 00:09:47,400 --> 00:09:48,760 and they came down to London 198 00:09:48,760 --> 00:09:53,280 and performed before the Chrysalis staff in the Chrysalis boardroom. 199 00:09:53,280 --> 00:09:57,120 I think they stood on the old wooden desk in the office 200 00:09:57,120 --> 00:09:59,120 and played in front of people - 201 00:09:59,120 --> 00:10:03,560 and to hear that music, live, that close up, 202 00:10:03,560 --> 00:10:05,440 it blows you away, do you know what I mean? 203 00:10:05,440 --> 00:10:09,160 It was just like they were spitting their accents in your face, 204 00:10:09,160 --> 00:10:11,560 do you know what I mean? Like, "Yeah!" Like that. 205 00:10:11,560 --> 00:10:13,560 So it was no surprise to hear John, 206 00:10:13,560 --> 00:10:15,760 John phoned us up and said they loved them, 207 00:10:15,760 --> 00:10:17,600 they want to release the record. 208 00:10:17,600 --> 00:10:20,480 But the crucial factor in sealing the deal 209 00:10:20,480 --> 00:10:23,960 was Craig and Charlie's first ever TV appearance. 210 00:10:23,960 --> 00:10:25,920 The biggest thing was The Tube. 211 00:10:25,920 --> 00:10:29,080 This was a big music show, it was a million people every Friday night. 212 00:10:29,080 --> 00:10:31,280 I thought, "We have to let them see them visually," 213 00:10:31,280 --> 00:10:33,200 so we shot, for 50 quid, 214 00:10:33,200 --> 00:10:35,280 we shot a little video of Craig and Charlie 215 00:10:35,280 --> 00:10:38,120 standing down the Royal Mile singing Throw The 'R' Away. 216 00:10:38,120 --> 00:10:40,360 # I'm just gonna have to learn to hesitate 217 00:10:40,360 --> 00:10:43,320 # To make sure my words on your Saxon ears don't grate... # 218 00:10:43,320 --> 00:10:45,720 That swung it around, because all of a sudden after that, 219 00:10:45,720 --> 00:10:48,400 they had a meeting, I got a phone call, "You're on." 220 00:10:48,400 --> 00:10:50,720 Didn't Paula Yates introduce you, with something like, 221 00:10:50,720 --> 00:10:53,560 "Here's something a bit weird"? She said, she was in the foreground, 222 00:10:53,560 --> 00:10:56,440 said something like, "And now here's something really weird." 223 00:10:56,440 --> 00:10:58,280 Yeah. And she wasn't wrong. 224 00:10:58,280 --> 00:11:00,280 Did you feel like you were something weird? 225 00:11:00,280 --> 00:11:03,360 Oh, God, aye. I think we were always going to be fish out of water 226 00:11:03,360 --> 00:11:04,960 in everything we did. 227 00:11:04,960 --> 00:11:08,120 And now for something totally weird and unusual. 228 00:11:08,120 --> 00:11:10,000 Identical twins singing. 229 00:11:10,000 --> 00:11:13,840 Craig and Charles Reid, alias The Proclaimers, come from Auchtermuchty 230 00:11:13,840 --> 00:11:16,800 in Scotland, and supported The Housemartins on their last tour. 231 00:11:16,800 --> 00:11:19,160 They're proud of being one of the few Scottish bands 232 00:11:19,160 --> 00:11:20,760 who don't sing with American accents - 233 00:11:20,760 --> 00:11:22,440 and here they are in their TV debut, 234 00:11:22,440 --> 00:11:25,320 another one, with Throw The 'R' Away. 235 00:11:25,320 --> 00:11:27,880 CHEERING 236 00:11:35,520 --> 00:11:38,200 Well, I remember seeing The Proclaimers on The Tube, 237 00:11:38,200 --> 00:11:40,680 and they didn't look or sound like anyone else. 238 00:11:42,560 --> 00:11:44,600 # I've been so sad 239 00:11:44,600 --> 00:11:47,040 # Since you said my accent was bad... # 240 00:11:47,040 --> 00:11:49,200 Yes, their appearance on The Tube 241 00:11:49,200 --> 00:11:51,720 was baffling, I think, to most of the audience. 242 00:11:51,720 --> 00:11:54,680 Two kind of geeky guys looking like folk musicians appear, 243 00:11:54,680 --> 00:11:57,000 and then suddenly launch into it like The Clash. 244 00:11:58,760 --> 00:12:00,880 You're like, "Who the hell are these guys?" 245 00:12:00,880 --> 00:12:04,080 It was unlike anything anyone had seen. 246 00:12:04,080 --> 00:12:08,160 Even if you were a proper dyed in the beard folky in Scotland, 247 00:12:08,160 --> 00:12:10,840 you wouldn't really have seen anything like The Proclaimers. 248 00:12:10,840 --> 00:12:12,760 # Some days I stand 249 00:12:12,760 --> 00:12:15,520 # On your green and pleasant land... # 250 00:12:15,520 --> 00:12:18,640 That was a massive show at the time. It was huge. It was massive. 251 00:12:18,640 --> 00:12:20,480 We went to the football the next day, 252 00:12:20,480 --> 00:12:23,200 and we were standing in the east terrace in Easter Road 253 00:12:23,200 --> 00:12:24,680 and people were coming up, 254 00:12:24,680 --> 00:12:28,520 as we were buying a pie and a coffee, people coming at us, 255 00:12:28,520 --> 00:12:31,120 "Saw you last night, brilliant, yeah, fantastic." 256 00:12:31,120 --> 00:12:35,720 So you knew how many people watched the show, and the impact it had. 257 00:12:35,720 --> 00:12:38,360 # You say that if I wanna get ahead 258 00:12:38,360 --> 00:12:41,040 # The language I use should be left for dead... # 259 00:12:41,040 --> 00:12:43,920 It was an astonishing thing when The Proclaimers appeared, 260 00:12:43,920 --> 00:12:46,480 because they appeared out of nowhere, seemingly. 261 00:12:46,480 --> 00:12:49,960 It was radical, you know, in a way that was genuinely radical, 262 00:12:49,960 --> 00:12:52,800 in that it was a break from what everybody was listening to. 263 00:12:54,040 --> 00:12:56,320 On the whole, the '80s was just a decade 264 00:12:56,320 --> 00:12:57,880 when music was kicked to death 265 00:12:57,880 --> 00:13:00,720 by the misuse of appalling cheap digital technology - 266 00:13:00,720 --> 00:13:02,920 and, obviously, The Proclaimers made their records 267 00:13:02,920 --> 00:13:05,040 at the height of that, the first record. 268 00:13:05,040 --> 00:13:08,760 It was at a time of highly cultivated images. 269 00:13:08,760 --> 00:13:10,680 If you want to contrast The Proclaimers, 270 00:13:10,680 --> 00:13:12,840 the obvious one would be to contrast with Bros... 271 00:13:15,320 --> 00:13:18,200 ..where you've got these highly photogenic twins 272 00:13:18,200 --> 00:13:22,120 who've been kind of polished to the nth degree by their record company. 273 00:13:23,240 --> 00:13:25,520 One of the things that came out of the 1980s 274 00:13:25,520 --> 00:13:28,520 was the ability to package subversive and rebellious, 275 00:13:28,520 --> 00:13:32,600 so that something can appear to be, without really rocking the boat. 276 00:13:32,600 --> 00:13:35,640 The fact that they pitched up looking and sounding like they did 277 00:13:35,640 --> 00:13:38,640 was one of the most genuinely rebellious 278 00:13:38,640 --> 00:13:42,560 and subversive acts of music in the 1980s. 279 00:13:42,560 --> 00:13:45,840 The way they looked was different - 280 00:13:45,840 --> 00:13:47,280 and I don't mean just the fact 281 00:13:47,280 --> 00:13:49,480 that they were twins and they wore glasses - 282 00:13:49,480 --> 00:13:54,080 but they didn't dress like kids in a band. 283 00:13:54,080 --> 00:13:55,600 What you've got to understand is, 284 00:13:55,600 --> 00:13:57,640 whilst all these people were in the charts, 285 00:13:57,640 --> 00:14:00,200 you know, like Spandau Ballet and Duran Duran, 286 00:14:00,200 --> 00:14:03,240 anybody who dressed like a straight was seen as a bit like the enemy. 287 00:14:03,240 --> 00:14:05,320 # Will you send back... # 288 00:14:05,320 --> 00:14:08,600 They look middle-of-the-road, like Roger Whittaker or something - 289 00:14:08,600 --> 00:14:12,200 but actually, you know, they were real rebels, 290 00:14:12,200 --> 00:14:16,440 because everyone else was doing electronic music 291 00:14:16,440 --> 00:14:18,400 and The Proclaimers were just... 292 00:14:19,840 --> 00:14:21,440 HE HUMS 293 00:14:22,680 --> 00:14:25,680 You know, and that's rebellion. 294 00:14:25,680 --> 00:14:27,240 In a sweater. 295 00:14:27,240 --> 00:14:29,240 A chunky one, an Arran sweater. 296 00:14:29,240 --> 00:14:32,440 People tend to think of them as big folky, sort of, couthy thing, 297 00:14:32,440 --> 00:14:35,360 but they're not, they were more punk than punks. 298 00:14:35,360 --> 00:14:37,120 They were punks in the mid-'70s in Fife, 299 00:14:37,120 --> 00:14:38,800 you know, they were proper punks. 300 00:14:38,800 --> 00:14:41,200 I'm pretty sure they saw the early tours of Scotland 301 00:14:41,200 --> 00:14:43,400 by The Clash and the Sex Pistols. 302 00:14:43,400 --> 00:14:45,720 # White riot, I wanna riot 303 00:14:45,720 --> 00:14:48,200 # White riot, a riot of my own... # 304 00:14:48,200 --> 00:14:52,560 We'd read the Tony Parsons interview with the Clash in '77 in the NME. 305 00:14:52,560 --> 00:14:54,920 I'd read the interview before I saw the band. Right. 306 00:14:54,920 --> 00:14:57,080 There was no doubt after reading the interview 307 00:14:57,080 --> 00:14:58,400 that this was the way to do it. 308 00:14:58,400 --> 00:14:59,920 # And everybody's doin' 309 00:14:59,920 --> 00:15:02,400 # Just what they're told to do 310 00:15:02,400 --> 00:15:04,600 # Nobody wants 311 00:15:04,600 --> 00:15:06,200 # To go to jail... # 312 00:15:06,200 --> 00:15:08,280 And did you feel very swept up in that revolution? 313 00:15:08,280 --> 00:15:10,880 Yeah. It felt like it was ours. You know? 314 00:15:10,880 --> 00:15:13,560 It wasn't looking back at people who were 40, making music. 315 00:15:13,560 --> 00:15:15,920 He says, at 55! 316 00:15:15,920 --> 00:15:18,320 And even though you were up in Scotland 317 00:15:18,320 --> 00:15:21,480 it didn't feel remote, that kind of... No, it didn't. 318 00:15:21,480 --> 00:15:23,480 I think if you were interested in it 319 00:15:23,480 --> 00:15:25,320 and you felt it was part of you, 320 00:15:25,320 --> 00:15:27,800 I don't think it mattered where you were. Right. 321 00:15:27,800 --> 00:15:30,600 And then you formed a punk band, I believe? 322 00:15:30,600 --> 00:15:32,280 Yeah, we formed a couple of bands - 323 00:15:32,280 --> 00:15:34,680 the first one was called The Hippy Hasslers... 324 00:15:34,680 --> 00:15:36,200 Lovely name. It was a good one. 325 00:15:36,200 --> 00:15:37,720 And the second was called Black Flag 326 00:15:37,720 --> 00:15:39,560 before we even knew there was an American one. 327 00:15:39,560 --> 00:15:42,200 # White riot - I want to riot 328 00:15:42,200 --> 00:15:44,640 # White riot - a riot of my own. # 329 00:15:44,640 --> 00:15:49,000 One of many iconic champions of Craig and Charlie early on 330 00:15:49,000 --> 00:15:54,720 was Bill Drummond, later better known as half of The KLF. 331 00:15:54,720 --> 00:15:56,480 Musically and culturally, 332 00:15:56,480 --> 00:16:00,720 he felt a kindred spirit with The Proclaimers. 333 00:16:00,720 --> 00:16:03,480 As a maverick, you don't get any more maverick 334 00:16:03,480 --> 00:16:05,920 than the guy who burnt a million quid, 335 00:16:05,920 --> 00:16:09,040 and took a bunch of fake monks to the Isle of Jura, 336 00:16:09,040 --> 00:16:11,160 and, you know, dropped a dead sheep at the Brit Awards. 337 00:16:14,800 --> 00:16:19,040 It was 1986. I was 33 and a third years old. 338 00:16:20,120 --> 00:16:25,000 Things were going nowhere. Time for a revolution in MY life. 339 00:16:25,000 --> 00:16:30,520 I decided to write, record and release my own album - The Man. 340 00:16:30,520 --> 00:16:32,960 I sung the songs in my own accent, 341 00:16:32,960 --> 00:16:35,480 and my long-time colleague David Balfe said, 342 00:16:35,480 --> 00:16:37,240 "Just don't embarrass yourself, Bill - 343 00:16:37,240 --> 00:16:38,880 "nobody outside of Scotland 344 00:16:38,880 --> 00:16:42,520 "wants to hear songs sung in a Scottish accent." 345 00:16:42,520 --> 00:16:44,360 But I didn't care. 346 00:16:44,360 --> 00:16:46,640 Then the next day, David Balfe phones me up 347 00:16:46,640 --> 00:16:49,520 and he said he'd seen these two brothers on The Tube 348 00:16:49,520 --> 00:16:52,680 singing in their own accent, a Scottish accent - 349 00:16:52,680 --> 00:16:54,720 and they were brilliant. 350 00:16:54,720 --> 00:16:58,400 He said we should sign them to our music publishing company, 351 00:16:58,400 --> 00:16:59,880 Zoo Music - 352 00:16:59,880 --> 00:17:02,200 but in those days there was no YouTube or catch up 353 00:17:02,200 --> 00:17:04,320 to check them out, I just had to take his word 354 00:17:04,320 --> 00:17:05,960 that they were brilliant, 355 00:17:05,960 --> 00:17:09,480 even though they sang in their own accent, a Scottish accent. 356 00:17:09,480 --> 00:17:15,160 So we ended up signing them to our music publishing company, Zoo Music. 357 00:17:15,160 --> 00:17:17,640 And these two brothers WERE brilliant, 358 00:17:17,640 --> 00:17:19,840 and they still ARE brilliant. 359 00:17:20,920 --> 00:17:22,880 You know, if someone like Bill Drummond, 360 00:17:22,880 --> 00:17:26,200 who doesn't do anything the easy or obvious way - 361 00:17:26,200 --> 00:17:28,760 I don't believe he's actually sat down for an interview 362 00:17:28,760 --> 00:17:31,680 in this traditional sense for this programme... 363 00:17:31,680 --> 00:17:35,120 If someone like Bill is on side, you know you're doing something right. 364 00:17:36,200 --> 00:17:38,520 # Promised you a miracle... # 365 00:17:40,480 --> 00:17:44,680 At the time, all the Scottish bands - I mean, Simple Minds, 366 00:17:44,680 --> 00:17:45,760 Big Country, Hipsway - 367 00:17:45,760 --> 00:17:48,160 nobody was singing in their own accents. BOTH: No. 368 00:17:48,160 --> 00:17:51,560 It was all this kind of transatlantic kind of sound... 369 00:17:51,560 --> 00:17:54,320 Yeah. ..and that was just accepted as the norm, wasn't it? 370 00:17:54,320 --> 00:17:57,920 We'd gone to London two or three times and met a couple of people, 371 00:17:57,920 --> 00:18:02,560 and they'd always been, "Well, we like the songs but the accent..." 372 00:18:02,560 --> 00:18:04,960 Oh, really? So you met quite a lot of resistance? 373 00:18:04,960 --> 00:18:06,080 It was there, you know? 374 00:18:06,080 --> 00:18:08,360 I couldn't see the point of writing the songs 375 00:18:08,360 --> 00:18:11,880 about stuff that we knew and had observed, 376 00:18:11,880 --> 00:18:13,960 and then singing it in a mid-Atlantic accent, 377 00:18:13,960 --> 00:18:15,600 I couldn't see the point of that. 378 00:18:15,600 --> 00:18:17,880 And Throw The 'R' Away, that was the first single, right? 379 00:18:17,880 --> 00:18:20,000 Yes, it was. It was, yeah. It was. 380 00:18:20,000 --> 00:18:22,440 It didn't get very much play. 381 00:18:22,440 --> 00:18:24,040 Did in my house. 382 00:18:24,040 --> 00:18:26,120 # ..This Caledonian clown 383 00:18:26,120 --> 00:18:28,320 # I'm just going to have to learn to hesitate 384 00:18:28,320 --> 00:18:30,560 # To make sure my words on your Saxon ears don't grate... # 385 00:18:30,560 --> 00:18:31,840 That was what was striking - 386 00:18:31,840 --> 00:18:34,240 someone said, "They're singing in their own accent," 387 00:18:34,240 --> 00:18:36,920 and you're suddenly going, "Right enough, so they are." 388 00:18:36,920 --> 00:18:39,080 Because you hadn't even thought about 389 00:18:39,080 --> 00:18:41,360 the idea of a band singing in their own accent, 390 00:18:41,360 --> 00:18:43,520 especially not a Scottish accent. 391 00:18:43,520 --> 00:18:45,960 # He's been so sad 392 00:18:45,960 --> 00:18:48,720 # Cos you said his accent was bad... # 393 00:18:48,720 --> 00:18:51,360 We tend to keep our vowels very short - we say "shirt" and "skirt" 394 00:18:51,360 --> 00:18:53,720 whereas the English would say "shi-irt" and "ski-irt." 395 00:18:53,720 --> 00:18:56,680 It's definitely an easier way of singing, 396 00:18:56,680 --> 00:18:59,400 with those really big open vowel sounds - 397 00:18:59,400 --> 00:19:02,960 and it's quite a decision to sing in a Scottish accent. 398 00:19:02,960 --> 00:19:06,520 # ..if I flattened all my vowels and threw the R away... # 399 00:19:06,520 --> 00:19:08,520 MURIEL GRAY: I get the impression with them 400 00:19:08,520 --> 00:19:10,800 they probably didn't even think twice about it. 401 00:19:10,800 --> 00:19:14,480 The Proclaimers' Scottish dialect singing was more to do with punk, 402 00:19:14,480 --> 00:19:17,120 than it was anything to do with anything political... 403 00:19:17,120 --> 00:19:20,360 Not even just punk, actually - Alex Harvey was the first person 404 00:19:20,360 --> 00:19:23,640 really to start singing in a really broad Scottish accent. 405 00:19:23,640 --> 00:19:25,480 # I followed a naked body 406 00:19:25,480 --> 00:19:29,080 # And a naked body followed me... # 407 00:19:29,080 --> 00:19:32,880 And HE was acting on the back of 408 00:19:32,880 --> 00:19:36,480 new wave and punk English artists 409 00:19:36,480 --> 00:19:38,160 who'd started to sing... 410 00:19:38,160 --> 00:19:41,880 admittedly slightly like Bert in Mary Poppins, 411 00:19:41,880 --> 00:19:43,880 you know, like the Sex Pistols... 412 00:19:43,880 --> 00:19:46,680 but nevertheless that was a really new thing, where you could 413 00:19:46,680 --> 00:19:49,160 actually sing in your own dialect. 414 00:19:49,160 --> 00:19:51,040 To me it's kind of... 415 00:19:52,280 --> 00:19:54,480 I suppose as an artist, really, for want of a better word 416 00:19:54,480 --> 00:19:56,280 it's all about integrity. 417 00:19:56,280 --> 00:19:57,960 It's all about getting to the truth. 418 00:19:57,960 --> 00:20:00,440 That's what it's about, and everything else comes from that. 419 00:20:00,440 --> 00:20:02,600 And that's what they were saying in that statement. 420 00:20:02,600 --> 00:20:05,400 But it was a determination to do it our own way, 421 00:20:05,400 --> 00:20:08,800 and...not sod the consequences, but accept the consequences. 422 00:20:08,800 --> 00:20:10,840 That's quite ballsy if you're skint, 423 00:20:10,840 --> 00:20:12,320 and these people are kind of going, 424 00:20:12,320 --> 00:20:14,120 "If you could just change that one thing"... 425 00:20:14,120 --> 00:20:16,200 I suppose it is. 426 00:20:16,200 --> 00:20:19,440 I suppose it is, but... you know, we were younger, 427 00:20:19,440 --> 00:20:21,080 and we were determined, 428 00:20:21,080 --> 00:20:23,320 and we fed off each other's energy about it 429 00:20:23,320 --> 00:20:27,280 and our determination to do it the way that we would do it. 430 00:20:27,280 --> 00:20:30,160 # Please don't go 431 00:20:30,160 --> 00:20:32,160 # Rushing by 432 00:20:32,160 --> 00:20:36,280 # Stay and make my heart fly... # 433 00:20:36,280 --> 00:20:39,240 So tell us about recording that first album. You came to London... 434 00:20:39,240 --> 00:20:41,600 We did, John Williams brought us down. 435 00:20:41,600 --> 00:20:45,280 So we hadn't really spent any time in the studio before. 436 00:20:45,280 --> 00:20:47,840 We spent a couple of days trying out new guitars, 437 00:20:47,840 --> 00:20:49,040 cos the thing I had 438 00:20:49,040 --> 00:20:51,600 was like something that had fallen off the back of a lorry... 439 00:20:51,600 --> 00:20:54,000 Right. So we tried a few new guitars, 440 00:20:54,000 --> 00:20:55,880 then 12-string and stuff like that. 441 00:20:55,880 --> 00:20:57,920 So a couple of days messing about with that, 442 00:20:57,920 --> 00:20:59,960 and then got into recording the songs. 443 00:20:59,960 --> 00:21:01,560 Pretty much just set up, 444 00:21:01,560 --> 00:21:02,720 got the microphones right 445 00:21:02,720 --> 00:21:05,000 and just played them until we got a version we liked. 446 00:21:05,000 --> 00:21:08,320 # ..Cos I never seem to know the time 447 00:21:08,320 --> 00:21:10,560 # When you're with me... # 448 00:21:10,560 --> 00:21:12,400 We kept it very intimate. 449 00:21:12,400 --> 00:21:18,320 And Charlie and Craig recorded most of their takes in the control room - 450 00:21:18,320 --> 00:21:21,280 and I felt that I could make them sound huge 451 00:21:21,280 --> 00:21:22,840 without too many overdubs. 452 00:21:22,840 --> 00:21:27,000 # ..Stay and make my heart fly 453 00:21:27,000 --> 00:21:29,240 # I can't do any more... # 454 00:21:29,240 --> 00:21:33,400 It was quite a tricky job for John producing it, 455 00:21:33,400 --> 00:21:37,640 to sort of bridge that gap between something that sounded fantastic 456 00:21:37,640 --> 00:21:41,600 as a demo but something that had to be played on radio. You know. 457 00:21:41,600 --> 00:21:44,880 That's what they wanted, they wanted it to be a successful record. 458 00:21:44,880 --> 00:21:47,200 So in a way that was quite 459 00:21:47,200 --> 00:21:48,760 a hard job, you know, 460 00:21:48,760 --> 00:21:50,680 but I think it achieved that, definitely. 461 00:21:50,680 --> 00:21:52,800 We knew Letter From America 462 00:21:52,800 --> 00:21:55,040 was the big track on the album 463 00:21:55,040 --> 00:21:56,760 in terms of how we'd reach people - 464 00:21:56,760 --> 00:21:59,680 and we also knew that we'd have to record it with a band, 465 00:21:59,680 --> 00:22:02,640 because you wouldn't get radio play. 466 00:22:02,640 --> 00:22:04,320 Them and Kenny made an inspired choice 467 00:22:04,320 --> 00:22:06,520 with getting Gerry Rafferty, a fellow Scotsman, 468 00:22:06,520 --> 00:22:10,840 someone who had great success in the '70s, to remix that record. 469 00:22:10,840 --> 00:22:13,920 In very blunt, pragmatic terms, that remix gave them a hit - 470 00:22:13,920 --> 00:22:15,440 and they were off. 471 00:22:15,440 --> 00:22:18,080 This band, it's their very first time on top the Pops, 472 00:22:18,080 --> 00:22:21,880 this is a big hit - The Proclaimers, and Letter From America. 473 00:22:21,880 --> 00:22:23,320 WHOOPING 474 00:22:27,680 --> 00:22:32,080 # When you go, will you send back 475 00:22:32,080 --> 00:22:35,760 # A letter from America? # 476 00:22:35,760 --> 00:22:38,160 The power of Gerry Rafferty's production 477 00:22:38,160 --> 00:22:40,200 on Letter From America was so amazing 478 00:22:40,200 --> 00:22:41,840 that it just blew everybody away. 479 00:22:41,840 --> 00:22:45,720 # ..From Miami to Canada... # 480 00:22:45,720 --> 00:22:49,160 I remember being in Chrysalis' offices the Friday it came out, 481 00:22:49,160 --> 00:22:53,680 and the head of the company was dancing around the office. 482 00:22:53,680 --> 00:22:55,880 Cos basically they recouped their money in five days. 483 00:22:55,880 --> 00:22:58,480 # ..To the second chance I wonder how it got on... # 484 00:22:58,480 --> 00:22:59,920 I think it went really well, 485 00:22:59,920 --> 00:23:02,480 and it was the way, I suppose, 486 00:23:02,480 --> 00:23:04,520 we got across to a bigger audience, 487 00:23:04,520 --> 00:23:06,720 and had a...well, had a pretty big hit record. 488 00:23:06,720 --> 00:23:08,760 Yeah. A very big hit record - 489 00:23:08,760 --> 00:23:11,800 and also a record that mentioned Bathgate in it, which I think... 490 00:23:11,800 --> 00:23:13,000 As someone FROM Bathgate, 491 00:23:13,000 --> 00:23:15,240 I think it's the only time that's ever happened. 492 00:23:15,240 --> 00:23:16,960 Probably. Give it time! 493 00:23:16,960 --> 00:23:19,680 There'll be a country music song along pretty soon. 494 00:23:19,680 --> 00:23:22,080 MAYBE there will be. I'm not going to hold my breath. 495 00:23:22,080 --> 00:23:23,840 # Bathgate no more 496 00:23:23,840 --> 00:23:26,040 # Linwood no more 497 00:23:26,040 --> 00:23:28,360 # Methil no more, Irvine no more... # 498 00:23:28,360 --> 00:23:30,640 CHRISTOPHER BROOKMYRE: Two guys with acoustic guitars 499 00:23:30,640 --> 00:23:32,760 singing a song about the Highland Clearances 500 00:23:32,760 --> 00:23:35,800 was not something that was going to shock anybody, 501 00:23:35,800 --> 00:23:38,800 because that's a familiar subject for folk music - 502 00:23:38,800 --> 00:23:42,680 suddenly making it about steel plant closures, you know, 503 00:23:42,680 --> 00:23:46,720 making it "Methil no more", that changed everything. 504 00:23:46,720 --> 00:23:50,240 Suddenly there's an edge to it, it immediately relevant, 505 00:23:50,240 --> 00:23:53,680 and you understand what the song is all about at that point. 506 00:23:53,680 --> 00:23:55,920 # ..Methil no more 507 00:23:55,920 --> 00:23:57,720 # Irvine no more... # 508 00:23:57,720 --> 00:24:00,480 Letter From America came out at a time 509 00:24:00,480 --> 00:24:02,960 when I was getting really involved in politics, 510 00:24:02,960 --> 00:24:04,880 so it wasn't just that my home town 511 00:24:04,880 --> 00:24:08,240 was mentioned in it - which in itself was quite a big thing - 512 00:24:08,240 --> 00:24:12,640 but it was also that it spoke about, you know, something about my country 513 00:24:12,640 --> 00:24:15,480 that was also motivating me to get involved in politics, 514 00:24:15,480 --> 00:24:17,760 so that song, for me, 515 00:24:17,760 --> 00:24:21,160 is the sort of anthem of my teenage years. 516 00:24:21,160 --> 00:24:23,640 And it's also a very political track, of course, as well. 517 00:24:23,640 --> 00:24:25,680 That's just because that's what occurred to you, 518 00:24:25,680 --> 00:24:27,760 or because...that's what you needed to write about? 519 00:24:27,760 --> 00:24:29,840 It was written in... 520 00:24:29,840 --> 00:24:34,240 It must have been written about 198..4? Mm-hm. 521 00:24:34,240 --> 00:24:37,920 It was basically rage at what was going on. 522 00:24:37,920 --> 00:24:40,640 Both of us were disgusted 523 00:24:40,640 --> 00:24:45,480 by the callous way that unemployment was used 524 00:24:45,480 --> 00:24:50,000 to break organised labour, to break...the spirit of people. 525 00:24:50,000 --> 00:24:53,400 Has anger always been a motivating factor for writing? 526 00:24:53,400 --> 00:24:55,320 I think so, I think it should be there. 527 00:24:55,320 --> 00:24:57,600 I think if you can channel it, 528 00:24:57,600 --> 00:25:01,600 and it disnae feel like you're lecturing somebody 529 00:25:01,600 --> 00:25:03,480 or you're boring them. 530 00:25:03,480 --> 00:25:07,480 # ..Take a look up the rail track 531 00:25:07,480 --> 00:25:12,000 # From Miami to Canada... # 532 00:25:12,000 --> 00:25:15,000 People say that's their most political song - 533 00:25:15,000 --> 00:25:18,960 it's not, it's their most romantic, it's absolutely beautiful. 534 00:25:18,960 --> 00:25:20,480 # ..From Wester Ross to Nova Scotia 535 00:25:20,480 --> 00:25:23,520 # We should have held you We should have told you 536 00:25:23,520 --> 00:25:25,760 # But you know our sense of timing 537 00:25:25,760 --> 00:25:28,040 # We always wait too long... # 538 00:25:28,040 --> 00:25:31,440 It has a huge theme of loss and, you know, 539 00:25:31,440 --> 00:25:34,520 longing for something that you've lost, even if you haven't lost it - 540 00:25:34,520 --> 00:25:39,240 people weep about that song who've never BEEN to Scotland before! 541 00:25:39,240 --> 00:25:42,120 Because they're thinking about their OWN losses, 542 00:25:42,120 --> 00:25:45,200 something they've left behind that they can't ever recapture. 543 00:25:45,200 --> 00:25:47,040 It's the authentic feeling 544 00:25:47,040 --> 00:25:48,400 of humanity that absolutely 545 00:25:48,400 --> 00:25:52,160 underpins all The Proclaimers' work. 546 00:25:52,160 --> 00:25:54,200 They really understand what it's like to be human. 547 00:25:54,200 --> 00:26:02,160 # ..Lochaber no more. # 548 00:26:02,160 --> 00:26:04,000 CHEERING AND APPLAUSE 549 00:26:04,000 --> 00:26:06,240 So when you came to record that first album, 550 00:26:06,240 --> 00:26:08,200 you had those songs all ready to go. 551 00:26:08,200 --> 00:26:10,280 Yes. So tell us about the writing process. 552 00:26:10,280 --> 00:26:13,400 The first record was written in the flat in Edinburgh. 553 00:26:13,400 --> 00:26:16,840 I just remember, like, afternoons in Edinburgh 554 00:26:16,840 --> 00:26:18,320 being when we were on the dole 555 00:26:18,320 --> 00:26:20,400 and just writing and writing and writing. 556 00:26:20,400 --> 00:26:22,240 Just sort of sitting facing each other...? 557 00:26:22,240 --> 00:26:25,320 Yeah, throwing ideas about. Erm... 558 00:26:25,320 --> 00:26:28,880 And if we got an idea for a tune we would both try lyrics 559 00:26:28,880 --> 00:26:32,320 and then we'd stick with what the better lyrical idea was... Right. 560 00:26:32,320 --> 00:26:35,320 ..and kind of work on that, and just playing it, 561 00:26:35,320 --> 00:26:38,560 but a lot of...just trying to strengthen the voices, 562 00:26:38,560 --> 00:26:41,320 and make it powerful. 563 00:26:41,320 --> 00:26:44,160 The Proclaimers' music is... 564 00:26:44,160 --> 00:26:46,000 a great photograph, 565 00:26:46,000 --> 00:26:48,120 sonic photograph of the time. 566 00:26:48,120 --> 00:26:49,960 It's kind of like a diary - 567 00:26:49,960 --> 00:26:52,560 and they've got a very diaristic way of writing, so... 568 00:26:52,560 --> 00:26:56,840 It's sort of like a couple of Scottish guys' journal 569 00:26:56,840 --> 00:26:59,880 that you're looking at, and it's got a soundtrack to it. 570 00:26:59,880 --> 00:27:03,040 If you think about the poppiness of the hooks - 571 00:27:03,040 --> 00:27:06,960 the tunes, they're all catchy, they burn themselves into your head. 572 00:27:06,960 --> 00:27:09,000 And then when you look at the hooky lyrics - 573 00:27:09,000 --> 00:27:11,200 I mean, how can you not love a song that starts 574 00:27:11,200 --> 00:27:14,400 "There's a touch upon my lips, left by memory's fingertips"? 575 00:27:14,400 --> 00:27:15,920 That's a Patsy Cline song. 576 00:27:15,920 --> 00:27:18,320 # There's a touch upon my lips 577 00:27:19,320 --> 00:27:22,560 # Left by memory's fingertips 578 00:27:22,560 --> 00:27:27,040 # I still hear her voice when there's no sound... # 579 00:27:27,040 --> 00:27:30,400 KEVIN ROWLAND: As songwriters, I think they're genius, actually. 580 00:27:30,400 --> 00:27:34,040 And the thing about them is they've got the common touch. 581 00:27:34,040 --> 00:27:36,040 They seem like natural songwriters. 582 00:27:36,040 --> 00:27:38,840 Therefore the arrangements come easy, etc. 583 00:27:38,840 --> 00:27:41,680 # When I saw her first it was lust, my friend 584 00:27:41,680 --> 00:27:44,560 # Thought it would burn then it would end 585 00:27:44,560 --> 00:27:47,360 # But I lost my old philosophy... # 586 00:27:47,360 --> 00:27:50,640 You don't think - and this is the real art to it - 587 00:27:50,640 --> 00:27:53,000 you don't think, "Oh, there's Craig and Charlie 588 00:27:53,000 --> 00:27:55,520 "just singing another song about breaking up with a woman." 589 00:27:55,520 --> 00:27:58,560 You listen to the song, and... 590 00:27:58,560 --> 00:28:01,760 you do that with very good songwriters. You listen to the song. 591 00:28:01,760 --> 00:28:05,200 One thing I know is good lyrics. 592 00:28:05,200 --> 00:28:06,600 Mm. That's the main thing, 593 00:28:06,600 --> 00:28:07,920 it's good lyrics. 594 00:28:07,920 --> 00:28:10,080 Craig is er... 595 00:28:10,080 --> 00:28:12,160 a little bit dark. 596 00:28:13,240 --> 00:28:15,160 He is! 597 00:28:15,160 --> 00:28:18,200 And that's good. I don't know if... 598 00:28:18,200 --> 00:28:21,120 Charlie's lyrics 599 00:28:21,120 --> 00:28:24,520 are not so, er... 600 00:28:24,520 --> 00:28:25,880 dark, 601 00:28:25,880 --> 00:28:30,000 but it's yin and yang. Oh. 602 00:28:31,840 --> 00:28:34,680 # When I was a younger man... # 603 00:28:34,680 --> 00:28:37,280 JUSTIN CURRIE: I'm not sure if they've ever written a BAD song - 604 00:28:37,280 --> 00:28:39,720 but even if they're writing a love song, it'll be very blunt. 605 00:28:39,720 --> 00:28:41,400 They can be incredibly romantic, 606 00:28:41,400 --> 00:28:44,280 and they can elicit very powerful emotions 607 00:28:44,280 --> 00:28:48,800 whether it's pride or whether it's sadness... 608 00:28:48,800 --> 00:28:50,520 and they do it without 609 00:28:50,520 --> 00:28:53,960 appearing to be pretentious or really trying too hard. 610 00:28:53,960 --> 00:28:57,920 # I want to spend my life with you... # 611 00:28:59,800 --> 00:29:02,520 It's like they've built a... 612 00:29:02,520 --> 00:29:05,520 you know, they've built a Jaguar from the most basic Lego set, 613 00:29:05,520 --> 00:29:07,720 they don't even have a Meccano set. 614 00:29:07,720 --> 00:29:09,880 I think that's amazing. 615 00:29:09,880 --> 00:29:14,040 # ..I can't conceive of the years left to me... # 616 00:29:14,040 --> 00:29:15,520 Will you worry over a lyric? 617 00:29:15,520 --> 00:29:18,760 Because your lyrics seem very witty, very crafted... 618 00:29:18,760 --> 00:29:20,400 Yeah. It's not... 619 00:29:20,400 --> 00:29:22,000 I wouldn't say it was worrying. 620 00:29:22,000 --> 00:29:25,320 I'm certainly not a perfectionist, 621 00:29:25,320 --> 00:29:28,400 and I don't envy those who ARE perfectionists. 622 00:29:28,400 --> 00:29:31,280 If you got the feeling at the beginning, 623 00:29:31,280 --> 00:29:34,160 the rest comes - you shift the key, or you... 624 00:29:34,160 --> 00:29:36,360 you learn to hit the note that you cannae hit - 625 00:29:36,360 --> 00:29:39,720 but if you got the feeling at the beginning, there's no worries. 626 00:29:39,720 --> 00:29:43,400 What, sort of, creative arguments do you ever have? 627 00:29:43,400 --> 00:29:45,520 I mean, is it all quite...? 628 00:29:45,520 --> 00:29:49,040 Maybe more in the past, I think. Right. And you would... 629 00:29:49,040 --> 00:29:52,480 I don't know if we ever argued... I don't think we ever argued about a subject matter. 630 00:29:52,480 --> 00:29:55,120 I don't think any subject matter was off-limit. 631 00:29:55,120 --> 00:29:59,720 Maybe you would ask whether it was good enough or not. 632 00:29:59,720 --> 00:30:01,840 But you don't fall out about... 633 00:30:01,840 --> 00:30:04,640 If we've got something that one of us really doesn't like, 634 00:30:04,640 --> 00:30:06,440 then we don't do it. 635 00:30:06,440 --> 00:30:08,880 We don't do it, the veto is there. 636 00:30:08,880 --> 00:30:11,560 If there's something that we don't...a song, 637 00:30:11,560 --> 00:30:12,920 then we won't do it. 638 00:30:12,920 --> 00:30:17,200 There's never a question of either of you working without the other? 639 00:30:18,960 --> 00:30:20,360 Sooty and Sweep. 640 00:30:20,360 --> 00:30:21,680 LAUGHTER 641 00:30:21,680 --> 00:30:23,240 I think it's unlikely, David. 642 00:30:23,240 --> 00:30:25,520 Aye. I think if we get through to the age we've got to now, 643 00:30:25,520 --> 00:30:29,760 you know, I think the solo career and doing some of my numbers 644 00:30:29,760 --> 00:30:32,520 with the London Philharmonic is not going to happen. 645 00:30:32,520 --> 00:30:35,040 I'd like to see that. It's a lovely idea, isn't it? 646 00:30:35,040 --> 00:30:37,760 I'd like to see both your numbers with the London Philharmonic. 647 00:30:37,760 --> 00:30:39,600 That would please the public, wouldn't it? 648 00:30:39,600 --> 00:30:42,160 Well, The Proclaimers' new album has already gone silver. 649 00:30:42,160 --> 00:30:44,840 It's only been out a few days. Here's the first hit from it. 650 00:30:44,840 --> 00:30:46,640 It's at number 14, an old record of the week. 651 00:30:46,640 --> 00:30:48,920 I love it. I'm Gonna Be, The Proclaimers! 652 00:30:51,520 --> 00:30:53,480 Most artists have to contend with 653 00:30:53,480 --> 00:30:55,400 difficult second album syndrome. 654 00:30:55,400 --> 00:30:57,120 # When I wake up... # 655 00:30:57,120 --> 00:30:58,920 Not so with Craig and Charlie. 656 00:30:58,920 --> 00:31:00,720 Released just one year later, 657 00:31:00,720 --> 00:31:03,600 Sunshine On Leith featured their biggest hit to date 658 00:31:03,600 --> 00:31:06,280 and brought them to an international audience. 659 00:31:06,280 --> 00:31:08,840 # I'm gonna be the man who goes along with you... # 660 00:31:08,840 --> 00:31:11,040 Sunshine On Leith was a massive album, 661 00:31:11,040 --> 00:31:13,320 with some massive hits on it, of course, 662 00:31:13,320 --> 00:31:16,520 which took you on a, kind of, global journey. 663 00:31:16,520 --> 00:31:20,000 Yeah. Was that something you were expecting? 664 00:31:20,000 --> 00:31:21,920 No... Or wishing for? 665 00:31:21,920 --> 00:31:25,120 No, it wasn't. I'm glad it happened. 666 00:31:25,120 --> 00:31:27,240 You know, we recorded the record 667 00:31:27,240 --> 00:31:29,160 and we knew it was a really good record, 668 00:31:29,160 --> 00:31:30,800 we were very proud of it, 669 00:31:30,800 --> 00:31:36,880 and we knew that I'm Gonna Be would be the first single. 670 00:31:36,880 --> 00:31:40,200 # But I would walk 500 miles 671 00:31:40,200 --> 00:31:43,200 # And I would walk 500 more 672 00:31:43,200 --> 00:31:44,960 # Just to be the man... # 673 00:31:44,960 --> 00:31:48,680 It became a huge hit in lots of different countries 674 00:31:48,680 --> 00:31:53,840 and that song was the one that took us round the world. 675 00:31:53,840 --> 00:31:56,240 # I'm gonna be the man who's working hard for you... # 676 00:31:56,240 --> 00:32:00,400 I remember that it was banned in the US by certain radio stations 677 00:32:00,400 --> 00:32:03,720 and it was because the DJs didn't understand some of the language - 678 00:32:03,720 --> 00:32:05,680 in particular, the word "haver". 679 00:32:05,680 --> 00:32:09,680 And they suspected that it had some kind of sexual context. 680 00:32:09,680 --> 00:32:12,440 It's very revealing that their default assumption 681 00:32:12,440 --> 00:32:14,960 was that it was some sort of sexual perversion. 682 00:32:14,960 --> 00:32:17,680 In fact, there was one American radio station that... 683 00:32:17,680 --> 00:32:19,920 The quote they gave was something along the lines of, 684 00:32:19,920 --> 00:32:22,760 "We don't know what it means, but we suspect it's subversive." 685 00:32:22,760 --> 00:32:26,240 And the great irony, of course, is what the word actually means, 686 00:32:26,240 --> 00:32:29,000 which would be the perfect summation of all of the American DJs 687 00:32:29,000 --> 00:32:30,240 who were banning it. 688 00:32:30,240 --> 00:32:32,520 It means you're talking shite. 689 00:32:32,520 --> 00:32:35,880 # And if I haver Yeah I know I'm gonna be 690 00:32:35,880 --> 00:32:38,400 # I'm gonna be the man who's havering to you... # 691 00:32:38,400 --> 00:32:41,960 I'd have to say 500 Miles is my favourite Proclaimers song. 692 00:32:41,960 --> 00:32:44,720 It's basically Scotland's national anthem. 693 00:32:44,720 --> 00:32:46,680 They should just change it, just... 694 00:32:46,680 --> 00:32:48,760 I mean, Flower Of Scotland's nice and everything, 695 00:32:48,760 --> 00:32:50,280 but it should be 500 Miles. 696 00:32:50,280 --> 00:32:53,640 # But I would walk 500 miles 697 00:32:53,640 --> 00:32:57,560 # And I would walk 500 more... # 698 00:32:57,560 --> 00:33:00,320 Yeah, the song was written, we were... 699 00:33:00,320 --> 00:33:03,640 It was when we were touring with the first acoustic record 700 00:33:03,640 --> 00:33:06,120 and we were playing up in Aberdeen 701 00:33:06,120 --> 00:33:10,280 and I was getting picked up in an hour 702 00:33:10,280 --> 00:33:13,080 and I just sat down at an electric piano 703 00:33:13,080 --> 00:33:14,880 and I started playing 704 00:33:14,880 --> 00:33:17,400 and it came in, like, 45, 50 minutes, 705 00:33:17,400 --> 00:33:19,920 the whole lot, everything. 706 00:33:19,920 --> 00:33:22,320 One of the quickest songs I've ever written. 707 00:33:22,320 --> 00:33:24,160 It was just like it was writing itself. 708 00:33:24,160 --> 00:33:25,880 # When I come home When I come home 709 00:33:25,880 --> 00:33:27,320 # Oh, I know I'm gonna be 710 00:33:27,320 --> 00:33:28,880 # I'm gonna be the man who... # 711 00:33:28,880 --> 00:33:31,720 It's the reason we're able to carry on making records. 712 00:33:31,720 --> 00:33:33,280 Oh, really? Is it that significant? 713 00:33:33,280 --> 00:33:36,240 I think, in terms of what it's brought in over the years, 714 00:33:36,240 --> 00:33:38,280 it pays for new records. 715 00:33:38,280 --> 00:33:41,400 Right. It pays for tours. It underpins everything we do, yeah. 716 00:33:41,400 --> 00:33:43,960 I mean, you've had... Letter From America was a big hit, 717 00:33:43,960 --> 00:33:46,120 I'm On My Way was a big hit... But nothing on that scale. 718 00:33:46,120 --> 00:33:47,720 Just a different scale, is it? 719 00:33:47,720 --> 00:33:49,960 Something about it - it's indestructible, that record. 720 00:33:49,960 --> 00:33:53,160 # And I would walk 500 miles 721 00:33:53,160 --> 00:33:56,400 # And I would walk 500 more... # 722 00:33:56,400 --> 00:33:59,520 Does the fact that it's been so huge over so many years, 723 00:33:59,520 --> 00:34:01,080 does it ever rankle? 724 00:34:01,080 --> 00:34:03,560 Do you ever want to go, "Listen to our new things"? 725 00:34:03,560 --> 00:34:08,400 No, no. The benefits completely outweigh the negatives. 726 00:34:08,400 --> 00:34:11,160 You wouldn't play a gig without it. No. No. 727 00:34:11,160 --> 00:34:13,440 We wouldn't get out alive. It's not like... 728 00:34:13,440 --> 00:34:15,240 It's not like The Beach Boys or something, 729 00:34:15,240 --> 00:34:18,360 where you've had that many hits, you want to do medleys and stuff. 730 00:34:18,360 --> 00:34:20,840 We've only had a handful of hit songs. 731 00:34:20,840 --> 00:34:23,280 So you do... If you're playing for an hour-and-a-half, 732 00:34:23,280 --> 00:34:25,400 you do the handful of hit songs that you've got, 733 00:34:25,400 --> 00:34:27,200 a few other ones that people might know, 734 00:34:27,200 --> 00:34:30,320 but it's not something that we have to worry about, 735 00:34:30,320 --> 00:34:32,840 because we haven't been that successful. 736 00:34:32,840 --> 00:34:34,760 Oh, I don't know about that. 737 00:34:34,760 --> 00:34:37,520 I mean successful as in having hit after hit after hit. Right. 738 00:34:37,520 --> 00:34:39,800 Thanks. This is called Cap In Hand. 739 00:34:45,440 --> 00:34:47,880 So, Cap In Hand, specifically, 740 00:34:47,880 --> 00:34:50,720 that came out of your desire for an independent Scotland. 741 00:34:50,720 --> 00:34:52,640 Yes, yes. 742 00:34:52,640 --> 00:34:55,160 We are absolutely total believers 743 00:34:55,160 --> 00:34:57,960 that Scotland should be an independent country 744 00:34:57,960 --> 00:35:01,400 and I find it difficult when you meet people 745 00:35:01,400 --> 00:35:05,000 who have never given it a thought, or completely opposed, 746 00:35:05,000 --> 00:35:06,880 and that's... 747 00:35:06,880 --> 00:35:08,760 I can't understand them. 748 00:35:08,760 --> 00:35:14,640 # I can't understand why we let someone else rule our land 749 00:35:14,640 --> 00:35:17,000 # We're cap in hand... # 750 00:35:19,160 --> 00:35:22,160 And do you write a song like that in the hope that you will, 751 00:35:22,160 --> 00:35:24,240 sort of, proselytise and change people's minds? 752 00:35:24,240 --> 00:35:27,960 No - it comes from the same... It comes from the same root 753 00:35:27,960 --> 00:35:29,960 as love songs, I think, 754 00:35:29,960 --> 00:35:32,360 and all of them, it's that you're feeling... 755 00:35:32,360 --> 00:35:33,960 You feel something inside 756 00:35:33,960 --> 00:35:36,760 and you express it through music, and you're hopefully... 757 00:35:36,760 --> 00:35:39,000 You're getting a tune that's memorable 758 00:35:39,000 --> 00:35:40,800 and you're getting a lyric 759 00:35:40,800 --> 00:35:45,880 that is...that is actually going to make somebody think. 760 00:35:45,880 --> 00:35:49,160 Not necessarily change their mind or persuade them, 761 00:35:49,160 --> 00:35:51,680 but just that they are actually going to listen to it. 762 00:35:51,680 --> 00:35:55,960 # We fight, when they ask us 763 00:35:55,960 --> 00:36:00,200 # We boast, then we cower 764 00:36:00,200 --> 00:36:02,760 # We beg 765 00:36:02,760 --> 00:36:04,880 # For a piece of 766 00:36:04,880 --> 00:36:09,760 # Ready, ready, ready, ready... What's already ours... # 767 00:36:09,760 --> 00:36:13,960 Their songs, over the past 30 years have, in many respects, 768 00:36:13,960 --> 00:36:17,560 been the soundtrack to Scotland's political journey 769 00:36:17,560 --> 00:36:21,880 and I think that has made the politics much more accessible, 770 00:36:21,880 --> 00:36:26,720 at times, to younger generations and brought politics alive - 771 00:36:26,720 --> 00:36:28,360 you know, not just Letter From America, 772 00:36:28,360 --> 00:36:30,200 but songs like Cap In Hand, you know... 773 00:36:30,200 --> 00:36:36,680 Really, in very simple terms, but in beautifully lyrical terms, 774 00:36:36,680 --> 00:36:38,800 telling Scotland's story in that way, I think, 775 00:36:38,800 --> 00:36:40,320 was hugely important. 776 00:36:41,800 --> 00:36:43,800 Politicising, small "p", 777 00:36:43,800 --> 00:36:48,080 politicising a generation of young Scots like me. 778 00:36:48,080 --> 00:36:52,720 I learned from it, because I grew up in an affluent area, 779 00:36:52,720 --> 00:36:54,520 went to private school, you know, 780 00:36:54,520 --> 00:36:58,680 middle-class Jewish boy, and listening to Cap In Hand, 781 00:36:58,680 --> 00:37:04,160 hearing this other view, was...was illuminating. 782 00:37:04,160 --> 00:37:07,160 I think they've been incredibly important as a protest band. 783 00:37:07,160 --> 00:37:09,000 I think they are one of the most important 784 00:37:09,000 --> 00:37:10,800 Scottish protest bands there's ever been. 785 00:37:10,800 --> 00:37:13,440 You don't have to believe in the same political outcome 786 00:37:13,440 --> 00:37:16,760 that they want to believe that what they sing about 787 00:37:16,760 --> 00:37:18,200 is beautiful and right. 788 00:37:18,200 --> 00:37:19,720 What you've got to understand 789 00:37:19,720 --> 00:37:21,960 about listening to bands like The Proclaimers, 790 00:37:21,960 --> 00:37:23,960 it's folk music, right? 791 00:37:23,960 --> 00:37:27,880 And folk music is of our island. 792 00:37:27,880 --> 00:37:31,480 You know? And that's what we talk about - 793 00:37:31,480 --> 00:37:36,600 we talk about love and politics and history and all sorts of things. 794 00:37:36,600 --> 00:37:40,680 It is part of our culture, and it's part of our culture to, 795 00:37:40,680 --> 00:37:44,320 when we get on stage, tell people what you think, so... 796 00:37:44,320 --> 00:37:45,960 Simple as that, isn't it? 797 00:37:47,040 --> 00:37:55,920 # My heart was broken 798 00:37:55,920 --> 00:38:00,960 # Sorrow, sorrow 799 00:38:00,960 --> 00:38:06,080 # Sorrow, sorrow... # 800 00:38:06,080 --> 00:38:08,640 Sunshine On Leith was a single, too, wasn't it? 801 00:38:08,640 --> 00:38:11,040 It was, it was the second or the third single. 802 00:38:11,040 --> 00:38:14,600 Yeah. And it didn't... It didn't chart. 803 00:38:14,600 --> 00:38:17,680 They wanted us to do a big edit on it and we said no. 804 00:38:17,680 --> 00:38:20,880 The song had to... It's nearly six minutes long, 805 00:38:20,880 --> 00:38:24,360 so it's no' going to get a lot of play on radio, you know? 806 00:38:24,360 --> 00:38:26,840 But Sunshine On Leith, again, 807 00:38:26,840 --> 00:38:31,200 I think, is one of those songs that has become bigger down the years. 808 00:38:31,200 --> 00:38:33,720 People, they hear it, and it goes in 809 00:38:33,720 --> 00:38:37,160 and then when you actually start playing live shows, 810 00:38:37,160 --> 00:38:41,480 that is probably the one that connects you to the audience, 811 00:38:41,480 --> 00:38:43,640 more than...even more than 500 Miles. 812 00:38:43,640 --> 00:38:47,520 # While the Chief 813 00:38:47,520 --> 00:38:52,960 # Puts Sunshine On Leith 814 00:38:52,960 --> 00:38:58,800 # I'll thank him for his work 815 00:38:58,800 --> 00:39:06,440 # And your birth and my birth 816 00:39:06,440 --> 00:39:09,240 # Yeah, yeah, yeah... # 817 00:39:09,240 --> 00:39:10,720 Sunshine On Leith, it's just... 818 00:39:10,720 --> 00:39:13,080 You know, it's this beautifully nostalgic song 819 00:39:13,080 --> 00:39:14,400 that just makes me cry 820 00:39:14,400 --> 00:39:16,440 every time I hear it, even though it's like... 821 00:39:16,440 --> 00:39:18,600 It's, like, anthemic crying. 822 00:39:18,600 --> 00:39:20,320 SHE LAUGHS 823 00:39:20,320 --> 00:39:22,320 # You saw it 824 00:39:22,320 --> 00:39:24,800 # You claimed it 825 00:39:24,800 --> 00:39:27,000 # You touched it 826 00:39:27,000 --> 00:39:29,600 # You saved it... 827 00:39:29,600 --> 00:39:32,240 It's a good song, and... 828 00:39:33,800 --> 00:39:40,200 ..it's in the spirit of folk and rock. 829 00:39:40,200 --> 00:39:42,960 The writing on it is so pared down. 830 00:39:45,120 --> 00:39:47,360 It feels like a really personal, intimate song 831 00:39:47,360 --> 00:39:49,320 about a specific feeling 832 00:39:49,320 --> 00:39:52,520 between two people, and yet, you know, 833 00:39:52,520 --> 00:39:55,360 it's the best football song you'll ever hear, you know? 834 00:39:55,360 --> 00:39:57,320 10,000 people on the terraces can sing it 835 00:39:57,320 --> 00:39:59,200 and everybody is going to be in tears. 836 00:39:59,200 --> 00:40:01,960 # My heart was broken... # 837 00:40:01,960 --> 00:40:04,280 Well, Sunshine On Leith was an unlikely song 838 00:40:04,280 --> 00:40:06,000 for football fans to have adopted. 839 00:40:06,000 --> 00:40:07,640 It's got an unlikely metre. 840 00:40:07,640 --> 00:40:10,760 They do like something that's a bit more tub-thumping, 841 00:40:10,760 --> 00:40:13,680 and they do tend to like something that 842 00:40:13,680 --> 00:40:15,480 has an element of goading in it. 843 00:40:15,480 --> 00:40:18,680 And it doesn't - it's a lilting and quite melancholy song. 844 00:40:18,680 --> 00:40:22,360 You only understand how well it works when, suddenly, 845 00:40:22,360 --> 00:40:25,600 there is 10,000 folk singing it in a football stadium. 846 00:40:25,600 --> 00:40:29,040 # While I'm worth 847 00:40:29,040 --> 00:40:32,160 # My room on this earth... # 848 00:40:32,160 --> 00:40:34,520 That's when you know you've got something. Yeah. 849 00:40:34,520 --> 00:40:36,800 If your own people sing your own song, 850 00:40:36,800 --> 00:40:39,360 then nobody is forcing them to do it. 851 00:40:39,360 --> 00:40:43,280 They do it of their own...because they feel it, so that's good. 852 00:40:43,280 --> 00:40:46,160 That must be quite moving, you know, as lifelong fans. 853 00:40:46,160 --> 00:40:48,240 I think it is, it's very moving. Yeah... 854 00:40:48,240 --> 00:40:52,440 And it's something that we feel... 855 00:40:52,440 --> 00:40:56,120 It links you more to the club and it's part of, maybe, 856 00:40:56,120 --> 00:41:00,360 the club's culture now, and that's fantastic for us. 857 00:41:00,360 --> 00:41:02,600 CHEERING 858 00:41:04,720 --> 00:41:07,240 I don't think, as Scottish people, we're necessarily famous 859 00:41:07,240 --> 00:41:09,680 for our emotional accessibility. 860 00:41:09,680 --> 00:41:12,400 Is that something you use your music to access? 861 00:41:12,400 --> 00:41:14,880 Or is that something... Are you very touchy-feely people? 862 00:41:14,880 --> 00:41:16,640 No, we're not at all. 863 00:41:16,640 --> 00:41:20,040 The music is the thing that we channel that... 864 00:41:20,040 --> 00:41:22,920 I think, to be a creative person, you want to create, 865 00:41:22,920 --> 00:41:24,480 you want to express yourself. 866 00:41:24,480 --> 00:41:27,760 That's the first thing, whatever it is that you're doing. 867 00:41:27,760 --> 00:41:31,480 And we've expressed ourselves through our music 868 00:41:31,480 --> 00:41:37,760 and we do it to the absolute best that we can, 100%. 869 00:41:37,760 --> 00:41:40,200 Life is short, you never know when it's going to end 870 00:41:40,200 --> 00:41:43,960 and you've got to give everything you've got. 871 00:41:43,960 --> 00:41:46,680 # Beautiful, beautiful 872 00:41:46,680 --> 00:41:49,320 # Beautiful truth 873 00:41:49,320 --> 00:41:55,120 # Don't leave because I can't see you... # 874 00:41:55,120 --> 00:41:59,880 I think the whole thing about The Proclaimers is the truth. 875 00:41:59,880 --> 00:42:04,680 They look in real life as they look onstage 876 00:42:04,680 --> 00:42:07,480 and they sound in real life as they sound onstage. 877 00:42:07,480 --> 00:42:10,440 It's unfettered, it hasn't been tampered with. 878 00:42:10,440 --> 00:42:14,520 What you see is what you get and people respond to that. 879 00:42:14,520 --> 00:42:18,280 Do you find that the more honest you can, sort of, push yourself to be, 880 00:42:18,280 --> 00:42:21,680 the more of a response you get from the audience? 881 00:42:21,680 --> 00:42:26,880 I think that is usually the case, or it's very often the case. 882 00:42:26,880 --> 00:42:28,920 I don't think it's always the case. 883 00:42:28,920 --> 00:42:32,360 I remember Kevin Rowland saying to me, many, many years ago, that... 884 00:42:33,800 --> 00:42:38,680 ..there was certain sections of the audience, or any audience, 885 00:42:38,680 --> 00:42:42,520 who didn't really like stuff too real, 886 00:42:42,520 --> 00:42:45,440 and I think there is a section that really don't. 887 00:42:45,440 --> 00:42:47,880 And I think, in any song, in any art form, 888 00:42:47,880 --> 00:42:52,680 you can get so real that you might even be pushing your own fans away. 889 00:42:52,680 --> 00:42:56,960 But I think, generally speaking, if you can be as honest as you can, 890 00:42:56,960 --> 00:43:00,080 you do get a better response, but not always. 891 00:43:00,080 --> 00:43:01,960 I think it embarrasses them. 892 00:43:01,960 --> 00:43:04,680 It makes them look at things they don't want to look at. 893 00:43:04,680 --> 00:43:06,680 I think that's what it is. 894 00:43:06,680 --> 00:43:08,600 Yeah... 895 00:43:08,600 --> 00:43:12,840 I mean, it confronts them to face things they don't want to face. 896 00:43:12,840 --> 00:43:16,120 I think when you're confronted with that kind of openness and honesty, 897 00:43:16,120 --> 00:43:17,480 you're wondering whether 898 00:43:17,480 --> 00:43:20,120 there's some kind of...some ulterior motive at work, 899 00:43:20,120 --> 00:43:24,320 and I don't think it is - I think it's just a real, raw openness 900 00:43:24,320 --> 00:43:25,880 that you are presented with. 901 00:43:31,480 --> 00:43:35,360 The success of Sunshine On Leith was followed by a top 10 hit 902 00:43:35,360 --> 00:43:38,000 with their King Of The Road EP in 1990, 903 00:43:38,000 --> 00:43:41,120 and then the album Hit The Highway in 1994, 904 00:43:41,120 --> 00:43:43,640 which contained the top 40 hit Let's Get Married. 905 00:43:43,640 --> 00:43:48,760 # We've been going together... # 906 00:43:48,760 --> 00:43:52,400 But then Craig and Charlie became strangely silent. 907 00:43:52,400 --> 00:43:55,120 They wouldn't release another album until Persevere, 908 00:43:55,120 --> 00:43:56,680 seven years later. 909 00:43:56,680 --> 00:44:01,800 You wait years for the next album. I mean, years. 910 00:44:01,800 --> 00:44:06,200 What were they doing for those seven or eight years? 911 00:44:07,680 --> 00:44:09,160 Do you know? 912 00:44:09,160 --> 00:44:12,760 Both our wives were having children, you know... 913 00:44:12,760 --> 00:44:16,760 I think we needed a rest, as well, after, kind of, 914 00:44:16,760 --> 00:44:19,000 especially the Sunshine On Leith thing. 915 00:44:19,000 --> 00:44:21,600 I think that when your life is in a different place, 916 00:44:21,600 --> 00:44:24,400 especially with children coming along, 917 00:44:24,400 --> 00:44:27,520 then you kind of feel your priorities are somewhere else. 918 00:44:27,520 --> 00:44:31,640 Hm. In retrospect, it was a good thing because it stopped us getting 919 00:44:31,640 --> 00:44:33,440 jaded with the road, you know? 920 00:44:33,440 --> 00:44:35,160 I think if you're on the road all the time, 921 00:44:35,160 --> 00:44:36,520 then you do get jaded with it. 922 00:44:36,520 --> 00:44:38,920 # We are born innocent 923 00:44:38,920 --> 00:44:40,680 # Found guilty 924 00:44:40,680 --> 00:44:44,000 # Living life is treated like a crime We are... # 925 00:44:44,000 --> 00:44:46,160 So how did working with Edwyn Collins come about? 926 00:44:46,160 --> 00:44:51,520 We initially worked with Edwyn when he was producing the music 927 00:44:51,520 --> 00:44:55,000 for the film version of The Slab Boys by John Byrne, 928 00:44:55,000 --> 00:44:57,200 and he was getting different singers 929 00:44:57,200 --> 00:45:01,280 to come into his studio in West Hampstead and do songs. 930 00:45:01,280 --> 00:45:03,440 We did a couple of rock 'n' roll songs. 931 00:45:03,440 --> 00:45:05,320 We enjoyed meeting Edwyn, 932 00:45:05,320 --> 00:45:07,840 admired what he'd done in his own career, 933 00:45:07,840 --> 00:45:09,400 and really enjoyed the studio, 934 00:45:09,400 --> 00:45:13,640 really enjoyed the kind of relaxed atmosphere, had a great time there, 935 00:45:13,640 --> 00:45:17,640 so we felt that we could do a whole album with him, 936 00:45:17,640 --> 00:45:20,680 and we did the next album with Edwyn, 937 00:45:20,680 --> 00:45:24,760 and it was really a very, very enjoyable experience 938 00:45:24,760 --> 00:45:30,760 and it felt very natural, and Edwyn did a really good job on it. 939 00:45:30,760 --> 00:45:32,400 # Born innocent 940 00:45:32,400 --> 00:45:35,120 # Found guilty 941 00:45:35,120 --> 00:45:40,040 # Every time. # 942 00:45:44,160 --> 00:45:51,240 Charlie and Craig were prepared immediately. Yeah, immaculately. 943 00:45:51,240 --> 00:45:54,280 Yeah, yeah. And they're very clear about what they want. 944 00:45:54,280 --> 00:45:57,440 Yeah, yeah. And very experienced by that time, as well. It's true. 945 00:45:57,440 --> 00:46:02,680 Immediately, it was a balance... 946 00:46:04,680 --> 00:46:07,680 Edwyn's pretty mad in the studio. He's like a mad professor. 947 00:46:08,800 --> 00:46:12,560 What a brilliant combination, Edwyn Collins producing The Proclaimers. 948 00:46:12,560 --> 00:46:14,960 What a great idea. 949 00:46:14,960 --> 00:46:20,240 In terms of the songs and in terms of the vibe in the studio 950 00:46:20,240 --> 00:46:24,160 and in terms of how everybody was getting on, and how it worked, 951 00:46:24,160 --> 00:46:29,040 I think probably the most enjoyable record - for me, anyway - that we've made over the years. Right. 952 00:46:29,040 --> 00:46:33,360 Just the sound of people, four or five people, you know, 953 00:46:33,360 --> 00:46:37,840 playing music and just loving it, and Edwyn gets it. 954 00:46:37,840 --> 00:46:41,360 # You've been let down Messed around 955 00:46:41,360 --> 00:46:43,680 # Told to get your feet back on the ground 956 00:46:43,680 --> 00:46:45,360 # When you should have been... # 957 00:46:45,360 --> 00:46:49,640 It was two great Scottish institutions coming together. 958 00:46:49,640 --> 00:46:52,800 Edwyn by that time had this great studio in London, 959 00:46:52,800 --> 00:46:54,960 which was stuffed full of vintage kit, 960 00:46:54,960 --> 00:46:58,440 no bells and whistles, which is just how Craig and Charlie like it. 961 00:46:58,440 --> 00:47:00,880 One of the songs, Charlie's voice... 962 00:47:00,880 --> 00:47:05,360 Blows the capsules? Blows the capsule in the microphone, so... 963 00:47:05,360 --> 00:47:08,440 it's loud, but it's the power, isn't it? Yeah. 964 00:47:08,440 --> 00:47:12,600 It's the power, which is different to loudness, isn't it? Yeah. 965 00:47:12,600 --> 00:47:17,000 It was fairly, fairly loud. 966 00:47:17,000 --> 00:47:20,320 Ah-ha. Isn't it? 967 00:47:20,320 --> 00:47:22,960 Is it true that you broke some of Edwyn Collins' gear? 968 00:47:22,960 --> 00:47:24,880 If it isn't true, it should be, you know? 969 00:47:24,880 --> 00:47:27,520 It's always been an ambition of mine. 970 00:47:27,520 --> 00:47:31,560 When you hear some of the old stuff like Little Richard records, 971 00:47:31,560 --> 00:47:37,640 Larry Williams, and the vocals are so high, that they distort the mic. 972 00:47:37,640 --> 00:47:44,040 It was real exciting, that. Half Edwyn's gear was from the 1920s. 973 00:47:44,040 --> 00:47:47,280 It was a lot of old gear, it's very... 974 00:47:47,280 --> 00:47:51,040 Some of it worked and some of it didn't, so if-if we broke his mic, 975 00:47:51,040 --> 00:47:53,640 we'll accept responsibility. He's got that thing... 976 00:47:53,640 --> 00:47:55,760 His studio had that thing of, you know, you think, 977 00:47:55,760 --> 00:47:57,040 "Things happen here." 978 00:47:57,040 --> 00:48:00,120 # But all your detractors 979 00:48:00,120 --> 00:48:03,440 # Underestimated you 980 00:48:03,440 --> 00:48:10,240 # Cos they don't know you like I do. # 981 00:48:12,200 --> 00:48:15,440 The songs that you sing and the way you sing them, 982 00:48:15,440 --> 00:48:17,640 they have such a personality, the syncopation, 983 00:48:17,640 --> 00:48:20,600 the kind of guttural noises that you sprinkle through and all that - 984 00:48:20,600 --> 00:48:22,600 was that something that just emerged? 985 00:48:22,600 --> 00:48:26,680 Yeah! Guttural noises! That's one way of putting it. We deserve that. 986 00:48:26,680 --> 00:48:31,200 You know, with your "uh"s! It's just the way...it-it is. 987 00:48:31,200 --> 00:48:34,800 I think probably a lot of it is the people you enjoyed listening to. 988 00:48:34,800 --> 00:48:39,840 Exactly. You know, I never wanted to sound like somebody... No. 989 00:48:39,840 --> 00:48:43,400 ..but you take...you absorb it. Yeah. 990 00:48:43,400 --> 00:48:45,280 And so you get people... 991 00:48:45,280 --> 00:48:48,480 We always admired people who could actually sing, 992 00:48:48,480 --> 00:48:51,600 and by sing I mean actually project their voice. 993 00:48:51,600 --> 00:48:54,440 See, a lot of people who can sing have got very good voices 994 00:48:54,440 --> 00:48:55,880 but they cannae actually belt it. 995 00:48:55,880 --> 00:48:59,520 # I met you 996 00:48:59,520 --> 00:49:01,760 # I met you. # 997 00:49:01,760 --> 00:49:05,240 I think when they're sounding angry, they sound like two voices 998 00:49:05,240 --> 00:49:08,760 in competition, and they sound like twins, they sound like two twins 999 00:49:08,760 --> 00:49:13,120 who are fighting for...food, really - that's how raw they sounded, 1000 00:49:13,120 --> 00:49:16,680 like two little kids at a table, going, "Me!" "Me!" "Me!" Like that. 1001 00:49:16,680 --> 00:49:21,880 # I met you. # 1002 00:49:21,880 --> 00:49:27,720 This call and response... and not many artists have this kind of chemistry, 1003 00:49:27,720 --> 00:49:32,000 where one starts, one finishes, one ends, one begins, 1004 00:49:32,000 --> 00:49:35,480 and it's just a blend of powerful musical genius. 1005 00:49:35,480 --> 00:49:39,320 # Broke off from my work the other day 1006 00:49:39,320 --> 00:49:42,840 # Spent the evening thinking about all the blood... # 1007 00:49:42,840 --> 00:49:46,680 You can definitely hear the influence of Dexys, Kevin Rowland's 1008 00:49:46,680 --> 00:49:51,640 vocal gymnastics, you can hear in both of their voices. 1009 00:49:51,640 --> 00:49:55,400 # When you go will you send back... # 1010 00:49:55,400 --> 00:50:01,280 And it's particularly Craig's voice. It's kind of righteous, you know? 1011 00:50:02,800 --> 00:50:04,800 He's not taking any prisoners, 1012 00:50:04,800 --> 00:50:07,840 and that's not something that he's decided to do. 1013 00:50:07,840 --> 00:50:09,840 That's, like, inherent in him. 1014 00:50:09,840 --> 00:50:14,040 He sings it with total conviction and total belief, and again, 1015 00:50:14,040 --> 00:50:16,680 it's not like a forced thing, it's not like that, 1016 00:50:16,680 --> 00:50:21,400 it's just...you know, you can't really not believe him. 1017 00:50:21,400 --> 00:50:25,320 I think Charlie is a great singer in his own right, actually, 1018 00:50:25,320 --> 00:50:27,400 and I'd like to hear him sing more. 1019 00:50:31,920 --> 00:50:35,720 Over the years, The Proclaimers' success has continued to grow. 1020 00:50:35,720 --> 00:50:40,920 # I'm on my way from misery to happiness today 1021 00:50:40,920 --> 00:50:43,320 # Ah-ha Ah-ha Ah-ha Ah-ha 1022 00:50:43,320 --> 00:50:44,840 # I'm on my way... # 1023 00:50:44,840 --> 00:50:48,320 I'm Gonna Be earned them a gold disc in America after featuring 1024 00:50:48,320 --> 00:50:52,640 in films such as Benny and Joon, The Bachelorette and Pitch Perfect. 1025 00:50:53,880 --> 00:50:57,360 And of course, a certain green ogre brought I'm On My Way 1026 00:50:57,360 --> 00:51:01,000 to the attention of a whole new generation of fans. 1027 00:51:01,000 --> 00:51:05,040 More recently, playwright Stephen Greenhorn used the raw materials 1028 00:51:05,040 --> 00:51:08,720 of Craig and Charlie's songs to create the hit musical Sunshine On Leith. 1029 00:51:10,680 --> 00:51:14,200 Craig and Charlie have even been stretching their own acting muscles, 1030 00:51:14,200 --> 00:51:15,600 however briefly, 1031 00:51:15,600 --> 00:51:18,280 with an appearance in the film version of Sunshine On Leith, 1032 00:51:18,280 --> 00:51:20,800 as cartoons in Family Guy 1033 00:51:20,800 --> 00:51:24,920 and also with super fan Matt Lucas in a music video 1034 00:51:24,920 --> 00:51:26,880 he directed for them. 1035 00:51:26,880 --> 00:51:28,600 Oh, look at that! 1036 00:51:30,320 --> 00:51:32,120 I came up with this idea 1037 00:51:32,120 --> 00:51:36,240 to do a home video, 1038 00:51:36,240 --> 00:51:38,640 of an anniversary party. 1039 00:51:42,840 --> 00:51:44,760 Go away! 1040 00:51:44,760 --> 00:51:46,960 I'd written these two old lady characters, 1041 00:51:46,960 --> 00:51:48,560 and I hadn't thought, 1042 00:51:48,560 --> 00:51:52,600 "Oh, I'll ask Craig and Charlie to play the old ladies," 1043 00:51:52,600 --> 00:51:57,240 and then it was only when I rewrote it, I thought, "Of course! 1044 00:51:57,240 --> 00:51:59,600 "Of course! I'll get them in drag!" It's what I do. 1045 00:51:59,600 --> 00:52:02,240 # Are you happy now Say yeah... # 1046 00:52:02,240 --> 00:52:04,200 How much persuasion did that take? 1047 00:52:04,200 --> 00:52:06,000 It took... He did it the right way. 1048 00:52:06,000 --> 00:52:10,320 He said, "The video we'll do this way - you'll be singing in a corner 1049 00:52:10,320 --> 00:52:14,960 "and then we'll get a couple of old ladies doing the stuff," and then... 1050 00:52:14,960 --> 00:52:17,760 "That's a great idea," then they came back a few days later, 1051 00:52:17,760 --> 00:52:19,560 "Would you be the old ladies?" 1052 00:52:19,560 --> 00:52:21,560 I thought... I wouldn't play him at cards. 1053 00:52:25,400 --> 00:52:28,400 At first, they were very reticent and they said they're not 1054 00:52:28,400 --> 00:52:31,200 dressing up in drag, and then, I don't know. 1055 00:52:31,200 --> 00:52:33,480 I don't know what made them change their mind. 1056 00:52:33,480 --> 00:52:37,320 Maybe I got the correct bra size and they were finally convinced. 1057 00:52:37,320 --> 00:52:38,520 He did it... 1058 00:52:38,520 --> 00:52:41,480 He did it well, and it was a very, very enjoyable day, 1059 00:52:41,480 --> 00:52:43,240 and it was an enjoyable experience. 1060 00:52:43,240 --> 00:52:50,480 Once the boys had made the decision to drag up, well, 1061 00:52:50,480 --> 00:52:52,960 they couldn't get into those clothes fast enough. 1062 00:52:54,760 --> 00:53:01,200 # Let me rephrase that I think there's a better line there 1063 00:53:01,200 --> 00:53:04,880 # Spinning around in the air. # 1064 00:53:04,880 --> 00:53:07,480 You're not going to... It's not something I want to pursue, no. 1065 00:53:07,480 --> 00:53:12,000 ..tour like that? No. Oh, well, well done for trying. Thank you. 1066 00:53:12,000 --> 00:53:14,560 If the music career ever takes a dip, 1067 00:53:14,560 --> 00:53:19,560 we could reboot Little Britain and Charlie and Craig could take 1068 00:53:19,560 --> 00:53:22,160 our roles, because they were very natural. 1069 00:53:23,800 --> 00:53:26,000 That's it. Party's over. 1070 00:53:26,000 --> 00:53:27,520 GROANING 1071 00:53:27,520 --> 00:53:29,920 Fascist! Right! 1072 00:53:29,920 --> 00:53:32,480 You always do a great gig. Do you still get nervous? 1073 00:53:32,480 --> 00:53:33,560 Do you still get the fear? 1074 00:53:33,560 --> 00:53:35,680 BOTH: Yeah. We do. Not as much as we used to. 1075 00:53:35,680 --> 00:53:38,280 Sometimes you get nerves and you don't know why it's happening, 1076 00:53:38,280 --> 00:53:41,040 you know? I think it's always good to have that. It's... Yeah. 1077 00:53:41,040 --> 00:53:43,080 You should never take anything for... 1078 00:53:43,080 --> 00:53:45,320 You shouldn't be on auto-pilot at all. No. No. 1079 00:53:45,320 --> 00:53:48,280 You should be going in there and the energy should be going 1080 00:53:48,280 --> 00:53:50,840 through you, cos that's what's going to communicate 1081 00:53:50,840 --> 00:53:53,760 what you're thinking and feeling to the audience. 1082 00:53:53,760 --> 00:53:56,080 CHEERING AND APPLAUSE 1083 00:53:56,080 --> 00:54:00,720 INTRO TO I'M GONNA BE (500 MILES) PLAYS 1084 00:54:00,720 --> 00:54:04,000 We have a larger audience now cos we've played so many shows, 1085 00:54:04,000 --> 00:54:08,160 we've been all over the place, and if you keep delivering, 1086 00:54:08,160 --> 00:54:10,360 I think people keep coming back. 1087 00:54:11,600 --> 00:54:17,240 # Yes I know I'm gonna be I'm gonna be the man who's working hard for you... # 1088 00:54:17,240 --> 00:54:22,920 I mean, they have a Presbyterian work ethic, which is staggering. 1089 00:54:22,920 --> 00:54:27,800 They just tour and write and perform, and they don't stop, 1090 00:54:27,800 --> 00:54:32,120 and they carry on being political activists at the same time. 1091 00:54:32,120 --> 00:54:34,320 That's really Scottish. 1092 00:54:35,400 --> 00:54:38,160 I love that! I love that very much. 1093 00:54:38,160 --> 00:54:41,040 No indolence in The Proclaimers. 1094 00:54:41,040 --> 00:54:44,120 # And I would walk 500 miles 1095 00:54:44,120 --> 00:54:48,760 # And I would 500 more... # 1096 00:54:48,760 --> 00:54:52,080 I'm good friends with a great singer called Robyn Hitchcock, and 1097 00:54:52,080 --> 00:54:56,560 he said to me when he saw me play for the first time, he goes, "Oh! 1098 00:54:56,560 --> 00:54:58,720 "You've got the Scottish boot!" 1099 00:54:58,720 --> 00:55:01,120 I went, "What do you mean, the Scottish boot?" 1100 00:55:01,120 --> 00:55:03,840 And he goes, "The Scottish boot just goes like that, 1101 00:55:03,840 --> 00:55:05,560 "all the way through the song." 1102 00:55:05,560 --> 00:55:07,600 And it was just, like, I saw it then. 1103 00:55:07,600 --> 00:55:11,440 # Da da lat da (Da da lat da) 1104 00:55:11,440 --> 00:55:14,080 # Da da lat da da da lat da... # 1105 00:55:14,080 --> 00:55:17,720 Honestly, I feel like if you went into the wardrobes of a collection 1106 00:55:17,720 --> 00:55:21,120 of Scottish artists, myself and The Proclaimers included, 1107 00:55:21,120 --> 00:55:24,240 the left heel of every pair of shoes is going to be an inch 1108 00:55:24,240 --> 00:55:26,560 shorter than the right! 1109 00:55:26,560 --> 00:55:29,760 # And I would walk 500... # 1110 00:55:29,760 --> 00:55:32,120 I think, I think they're great performers because they're 1111 00:55:32,120 --> 00:55:35,240 very in the moment as performers. 1112 00:55:35,240 --> 00:55:40,640 They're just totally in it, and it's kind of what it's all about, really. 1113 00:55:45,240 --> 00:55:47,200 CHEERING AS SONG ENDS 1114 00:55:47,200 --> 00:55:50,600 The reality is that you don't get remembered for many things. 1115 00:55:50,600 --> 00:55:52,480 You get remembered for a few things, 1116 00:55:52,480 --> 00:55:56,640 and so in truth, The Proclaimers probably will be remembered 1117 00:55:56,640 --> 00:56:02,960 for I'm Gonna Be and, er...that's...that's great! 1118 00:56:02,960 --> 00:56:04,880 I mean, it's a brilliant song. 1119 00:56:04,880 --> 00:56:09,200 I think people will look back at The Proclaimers and go, "Utter legends. 1120 00:56:09,200 --> 00:56:11,800 "Utter, utter legends." 1121 00:56:11,800 --> 00:56:15,880 There's never been anybody like them before and I think we'll have 1122 00:56:15,880 --> 00:56:18,600 to wait a long time to see anything similar. 1123 00:56:18,600 --> 00:56:22,720 # I'm not gonna talk about it I'm not gonna talk about it 1124 00:56:22,720 --> 00:56:26,600 # I'm not gonna talk about it I'm not gonna talk about it. # 1125 00:56:26,600 --> 00:56:31,560 Their true value isn't going to be understood until they've gone, 1126 00:56:31,560 --> 00:56:33,760 and then people are going to look back on 1127 00:56:33,760 --> 00:56:36,560 a body of work which is kind of incomparable. 1128 00:56:36,560 --> 00:56:39,120 I'm convinced that my grandkids will be going, 1129 00:56:39,120 --> 00:56:42,840 "God, did you see them live?! Did you see these guys live?" 1130 00:56:42,840 --> 00:56:47,280 # I'm not gonna talk about it... # 1131 00:56:48,720 --> 00:56:53,760 Legacy. We'll leave that to the likes of Tony Blair to worry about! 1132 00:56:53,760 --> 00:56:58,200 Legacy. We'll all be six foot under. It won't much matter. No! 1133 00:56:58,200 --> 00:57:02,040 I'm thinking about being... Immortal? 1134 00:57:02,040 --> 00:57:04,480 No. 180. 1135 00:57:04,480 --> 00:57:06,640 Oh, before you die? Yeah! 1136 00:57:06,640 --> 00:57:08,640 # When I started walking to Wishaw 1137 00:57:08,640 --> 00:57:10,880 # My eyes obscured my vision... # 1138 00:57:10,880 --> 00:57:15,560 I think one of their legacies will be that you can sing about 1139 00:57:15,560 --> 00:57:19,800 specifically local things, in their case, Scottish things, 1140 00:57:19,800 --> 00:57:22,080 whether it's politics or culture, 1141 00:57:22,080 --> 00:57:25,320 and have an international appeal. 1142 00:57:25,320 --> 00:57:28,520 # I walked through the country I walked through the town 1143 00:57:28,520 --> 00:57:32,200 # I held my head up And I didn't look down. # 1144 00:57:32,200 --> 00:57:36,120 Nobody's going to look back on The Proclaimers and say, "Oh, that was the mainstream," 1145 00:57:36,120 --> 00:57:38,560 do you know what I mean, "That's what people did then!" 1146 00:57:38,560 --> 00:57:41,160 Do you know what I mean? "That was the sound of Scotland!" 1147 00:57:41,160 --> 00:57:46,440 cos it wasn't, but I think in a way, that gives them a timelessness. 1148 00:57:48,880 --> 00:57:54,080 The intention's to keep going? Keep avoiding work. I think we still... 1149 00:57:54,080 --> 00:57:58,040 We enjoy it as much if not more... Yeah. ..than we did. 1150 00:57:58,040 --> 00:58:01,920 Some people quit too early, don't they, and some people go on 1151 00:58:01,920 --> 00:58:05,400 too long, and the trick is to know when to get out, 1152 00:58:05,400 --> 00:58:08,040 and if you're no longer up to muster, 1153 00:58:08,040 --> 00:58:12,840 then you should quit, and I know we will. 1154 00:58:12,840 --> 00:58:17,520 So if we're not... We'll be the first. We won't need to be told. 1155 00:58:17,520 --> 00:58:21,720 Well, I hope that won't be for many, many decades yet. 1156 00:58:21,720 --> 00:58:25,640 Decades! Very optimistic, David! 1157 00:58:27,680 --> 00:58:29,400 # I'm not gonna talk about it 1158 00:58:29,400 --> 00:58:38,040 # And I'm not gonna talk about it 1159 00:58:38,040 --> 00:58:42,000 # Yeah, yeah, yeah, yeah, yeah, yeah. # 1160 00:58:42,000 --> 00:58:45,120 GRUNTS 1161 00:58:47,480 --> 00:58:50,320 CHEERING 1162 00:58:56,920 --> 00:58:58,960 Good night, Glasgow!