Blair Douglas – Man of Many Hats
by Malcolm Jones
B&F November 2004
To those of you reading this article, the name of Blair Douglas will probably be best known for two things : as the composer of Kate Martin’s Waltz, a tune that has become a standard amongst traditional musicians, and as a founder member of Runrig.
This represents only a fraction of his long and varied career, of which the following is an overview, seen from my perspective as friend and some-time colleague.
Blair hails from the same corner of the Highlands as me – the Isle of Skye, rich in centuries- old traditions of piping, Gaelic song and poetry – and was brought up in a family steeped in music.
In her younger days, Blair’s mother Ina, sang with the famous Orpheus choir, conducted choirs in Cumbernauld and Portree, and was known as a fine piano accompanist, both in a vocal and dance band setting.
In later life Ina could also lay claim, with some justification, to instigating the formation of Runrig, more of which later!
Blair’s uncle Iain was a Mod Gold Medalist and fiddler, and despite six months of tuition, the young Douglas’s fiddling aspirations came to nothing.
At the age of fifteen, Blair moved with the family from Skye to Glasgow, and it was at a ceilidh in Rutland Crescent that he heard accordionists John Carmichael and Neil ‘Keose’ MacLeod, and from that moment on he was hooked on ‘the box’.
After much pestering, Blair’s parents relented and bought him a Baile 48-bass, packing him off to the Jimmy Blair School of Music in Berkeley Street for lessons with Norman Currie.
Soon he had mastered tunes such as Campbell’s Farewell to Redcastle and The Sweet Maid of Glendaruel and, whilst at school started to play in pubs around Glasgow, often having to accompany, at the drop of a hat, wayward vocalists who would sing anything ranging from My Way to Mairi’s Wedding.
Along with a stint playing in an Irish pub, this was to be a great grounding for Blair’s later career in music.
Blair’s heroes at the time were Bobby MacLeod, for his peerless interpretation of pipe music, and Will Starr for his brilliant playing.
Indeed, Blair’s own box style is also uniquely ‘pipey’, with careful study of the grace-notes used by pipers, and the exclusive use of the top ‘G’ natural for all bagpipe tunes, in contrast to the so-called East coast style of box player who will use a ‘G#’ a note alien to the pipe scale.
Blair stayed on in Glasgow to study, and it was then he met up with old pals from Portree, Calum and Rory Macdonald, down amongst the bright lights to further their own education.
Calum and Rory also were mad keen on making music and, whilst round at Blair’s house one evening, Ina suggested that the three of them form a band to play at the up and coming North Uist and Bernera Association ceilidh dance in The Kelvin Hall.
A word plucked from Blair’s Celtic studies notes provided the name, and the ‘Runrig Dance Band’ was duly formed!
Blair’s musical education now took a radical turn on being exposed to Calum and Rory’s record collection, in particular the music of folk rock band Fairport Convention, who were pioneering the use of traditional tunes and songs in a more rock orientated setting, using electric guitars, drums, et, along with the fiddle and accordion.
To some this was heresy, but it was only natural that the music of the past should be influenced by that of the present, and it was no different for the lads from Skye, brought up on a diet of Calum Kennedy and The Rolling Stones.
From these beginnings, the line can be traced from Fairport convention through to Na-h-Oganaich, Runrig, Capercaillie, Wolfstone, Shoogelnifty, The Peat Bog Faeries – the list is endless.
So, now armed with an electronic Victoria accordion, Blair and the boys hit the ceilidh trail round the Highlands.
Blair remembers the dances the fledgling Runrig played at as a great training ground, especially in the art of pointing a tune for the dancers, something he feels is often lacking in today’s young players who, whilst technically brilliant, play in a ‘folk session’ style and tempo most suited to listening than dancing.
Blair has the unique distinction (or misfortune!) of having been a member of Runrig twice, and he left the three-piece in the mid 1970s to pursue other musical challenges, including the wonderfully named Electric Ceilidh Band who, along with the revamped Runrig, were a constant fixture on the Highland circuit.
My first memories of Blair the musician were as part of The Electric Ceilidh Band, playing in my home town of Portree.
This band featured the towering talents of local boys Blair and legendary guitarist Neil ‘MacBeat’ Campbell.
Neil has done it all – from playing with Scots bass virtuoso Jack Bruce and the BBC Big Band, to stints with Billy Anderson’s Albany.
Both musicians were a revelation to me; Blair playing standing up, his heavily amplified accordion every bit a match for Neil’s raucous guitar, as they blasted through their repertoire of marches, reels and jigs, interspersed with songs.
These were heady days, and as a keen ‘bedroom guitarist’ I would gaze longingly at the stage, wishing I was up there too.
Several years later my wish was fulfilled and, with Blair back in place for the second time, I was asked to join Runrig, who then took the plunge and turned professional.
We were all young and foolish, and expected to resume studies and careers within a year or so, once things went horribly wrong, but here we are, still going strong after all these years!
Whilst Blair was in the band I learnt a lot, including using the guitar as a vamping instrument, a style at the time not so common (apart from the celebrated Shetland style of Peerie Willie Johnston), and the seeds were sown for my decision some years later to take up the accordion.
Eventually Blair became restless, and moved on to fresh challenges, although our paths would continue to cross.
In the early 80s Arthur Cormack arrived on the scene as the youngest ever winner of the Mod gold Medal, and soon formed a musical partnership with Blair which lasted many years, both as a duo and as part of two Gaelic ‘supergroups’.
Mactalla boasted the cream of Gaeldom’s musicians – Blair, Arthur, Christine Primrose, Eilidh MacKenzie and Alison Kinnaird.
After recording one classic album, they eventually split up and Blair and Arthur went on to form the band Cliar, who are to this day highly acclaimed, although Blair, ever restless, soon moved on.
Blair’s solo career has gone from strength to strength, and he has emerged as a songwriter and composer of note, with the aforementioned Kate Martin’s Waltz entering the tradition, and tunes such as Nelson Mandela’s Welcome to Glasgow from his landmark Summer in Skye album becoming firm favourites with pipe bands.
Blair has written widely for television and film and was one of the first ever tutors in the huge success that is the Feisean movement.
Currently he is a member of staff at the Plockton School of Musical Excellence.
Over the years I’ve continued to play with Blair, either to ‘have a tune’ or as a guest on his albums; this summer events turned full circle when Runrig invited him over to Denmark and Germany as special guest at two of our outdoor concerts – the years rolled back and we could easily have been treading the boards in some far off Highland village hall, full of excitement and promise. Blair’s latest album is called Angels from the Ashes and is another fine collection of his own tunes, plus some songs reflecting his great interest in Cajun music, with Blair playing a specially made Cajun button-box from Louisiana, and accompanied by some genuine Cajun musicians.
Blair seesa great connection between his own Celtic heritage and that of the Cajuns, a melting pot of many influences, including Scots and Irish.
The title track was written in response to the events of 9/11 and is already becoming a film favourite, to the extent that the charity Glasgow the Caring City has adopted it as their theme tune and it will be released as a single in December, the bulk of the proceeds going to help the bereaved families of the New York Fire Department, with whom the charity has very strong links. Blair is happily settled in his native Skye with his family, the perfect place to inspire him and his music for years to come.
Solo discography
Celtology 1984
Beneath the Beret 1990
Summer in Skye 1996
Angels from the Ashes 2004
Angels from the Ashes (single) 2004
This represents only a fraction of his long and varied career, of which the following is an overview, seen from my perspective as friend and some-time colleague.
Blair hails from the same corner of the Highlands as me – the Isle of Skye, rich in centuries- old traditions of piping, Gaelic song and poetry – and was brought up in a family steeped in music.
In her younger days, Blair’s mother Ina, sang with the famous Orpheus choir, conducted choirs in Cumbernauld and Portree, and was known as a fine piano accompanist, both in a vocal and dance band setting.
In later life Ina could also lay claim, with some justification, to instigating the formation of Runrig, more of which later!
Blair’s uncle Iain was a Mod Gold Medalist and fiddler, and despite six months of tuition, the young Douglas’s fiddling aspirations came to nothing.
At the age of fifteen, Blair moved with the family from Skye to Glasgow, and it was at a ceilidh in Rutland Crescent that he heard accordionists John Carmichael and Neil ‘Keose’ MacLeod, and from that moment on he was hooked on ‘the box’.
After much pestering, Blair’s parents relented and bought him a Baile 48-bass, packing him off to the Jimmy Blair School of Music in Berkeley Street for lessons with Norman Currie.
Soon he had mastered tunes such as Campbell’s Farewell to Redcastle and The Sweet Maid of Glendaruel and, whilst at school started to play in pubs around Glasgow, often having to accompany, at the drop of a hat, wayward vocalists who would sing anything ranging from My Way to Mairi’s Wedding.
Along with a stint playing in an Irish pub, this was to be a great grounding for Blair’s later career in music.
Blair’s heroes at the time were Bobby MacLeod, for his peerless interpretation of pipe music, and Will Starr for his brilliant playing.
Indeed, Blair’s own box style is also uniquely ‘pipey’, with careful study of the grace-notes used by pipers, and the exclusive use of the top ‘G’ natural for all bagpipe tunes, in contrast to the so-called East coast style of box player who will use a ‘G#’ a note alien to the pipe scale.
Blair stayed on in Glasgow to study, and it was then he met up with old pals from Portree, Calum and Rory Macdonald, down amongst the bright lights to further their own education.
Calum and Rory also were mad keen on making music and, whilst round at Blair’s house one evening, Ina suggested that the three of them form a band to play at the up and coming North Uist and Bernera Association ceilidh dance in The Kelvin Hall.
A word plucked from Blair’s Celtic studies notes provided the name, and the ‘Runrig Dance Band’ was duly formed!
Blair’s musical education now took a radical turn on being exposed to Calum and Rory’s record collection, in particular the music of folk rock band Fairport Convention, who were pioneering the use of traditional tunes and songs in a more rock orientated setting, using electric guitars, drums, et, along with the fiddle and accordion.
To some this was heresy, but it was only natural that the music of the past should be influenced by that of the present, and it was no different for the lads from Skye, brought up on a diet of Calum Kennedy and The Rolling Stones.
From these beginnings, the line can be traced from Fairport convention through to Na-h-Oganaich, Runrig, Capercaillie, Wolfstone, Shoogelnifty, The Peat Bog Faeries – the list is endless.
So, now armed with an electronic Victoria accordion, Blair and the boys hit the ceilidh trail round the Highlands.
Blair remembers the dances the fledgling Runrig played at as a great training ground, especially in the art of pointing a tune for the dancers, something he feels is often lacking in today’s young players who, whilst technically brilliant, play in a ‘folk session’ style and tempo most suited to listening than dancing.
Blair has the unique distinction (or misfortune!) of having been a member of Runrig twice, and he left the three-piece in the mid 1970s to pursue other musical challenges, including the wonderfully named Electric Ceilidh Band who, along with the revamped Runrig, were a constant fixture on the Highland circuit.
My first memories of Blair the musician were as part of The Electric Ceilidh Band, playing in my home town of Portree.
This band featured the towering talents of local boys Blair and legendary guitarist Neil ‘MacBeat’ Campbell.
Neil has done it all – from playing with Scots bass virtuoso Jack Bruce and the BBC Big Band, to stints with Billy Anderson’s Albany.
Both musicians were a revelation to me; Blair playing standing up, his heavily amplified accordion every bit a match for Neil’s raucous guitar, as they blasted through their repertoire of marches, reels and jigs, interspersed with songs.
These were heady days, and as a keen ‘bedroom guitarist’ I would gaze longingly at the stage, wishing I was up there too.
Several years later my wish was fulfilled and, with Blair back in place for the second time, I was asked to join Runrig, who then took the plunge and turned professional.
We were all young and foolish, and expected to resume studies and careers within a year or so, once things went horribly wrong, but here we are, still going strong after all these years!
Whilst Blair was in the band I learnt a lot, including using the guitar as a vamping instrument, a style at the time not so common (apart from the celebrated Shetland style of Peerie Willie Johnston), and the seeds were sown for my decision some years later to take up the accordion.
Eventually Blair became restless, and moved on to fresh challenges, although our paths would continue to cross.
In the early 80s Arthur Cormack arrived on the scene as the youngest ever winner of the Mod gold Medal, and soon formed a musical partnership with Blair which lasted many years, both as a duo and as part of two Gaelic ‘supergroups’.
Mactalla boasted the cream of Gaeldom’s musicians – Blair, Arthur, Christine Primrose, Eilidh MacKenzie and Alison Kinnaird.
After recording one classic album, they eventually split up and Blair and Arthur went on to form the band Cliar, who are to this day highly acclaimed, although Blair, ever restless, soon moved on.
Blair’s solo career has gone from strength to strength, and he has emerged as a songwriter and composer of note, with the aforementioned Kate Martin’s Waltz entering the tradition, and tunes such as Nelson Mandela’s Welcome to Glasgow from his landmark Summer in Skye album becoming firm favourites with pipe bands.
Blair has written widely for television and film and was one of the first ever tutors in the huge success that is the Feisean movement.
Currently he is a member of staff at the Plockton School of Musical Excellence.
Over the years I’ve continued to play with Blair, either to ‘have a tune’ or as a guest on his albums; this summer events turned full circle when Runrig invited him over to Denmark and Germany as special guest at two of our outdoor concerts – the years rolled back and we could easily have been treading the boards in some far off Highland village hall, full of excitement and promise. Blair’s latest album is called Angels from the Ashes and is another fine collection of his own tunes, plus some songs reflecting his great interest in Cajun music, with Blair playing a specially made Cajun button-box from Louisiana, and accompanied by some genuine Cajun musicians.
Blair seesa great connection between his own Celtic heritage and that of the Cajuns, a melting pot of many influences, including Scots and Irish.
The title track was written in response to the events of 9/11 and is already becoming a film favourite, to the extent that the charity Glasgow the Caring City has adopted it as their theme tune and it will be released as a single in December, the bulk of the proceeds going to help the bereaved families of the New York Fire Department, with whom the charity has very strong links. Blair is happily settled in his native Skye with his family, the perfect place to inspire him and his music for years to come.
Solo discography
Celtology 1984
Beneath the Beret 1990
Summer in Skye 1996
Angels from the Ashes 2004
Angels from the Ashes (single) 2004
