Highland Wolf
Muirsical Conversation with Duncan Chisholm (Part 1)
In 2010 Celtic rock band Wolfstone were celebrating their 21st year of performing and recording, and showing no signs of stopping anytime soon.
Duncan Chisholm, a founder member of the band and one of Scotland's finest fiddle players, is not just an integral part of Wolfstone, he's also sought after by other musicians in a touring capacity, or to feature as a guest musician.
Duncan also records and performs as a solo artist, and 2010 saw the release of his fourth solo album.
'Canaich', like the three albums before it, features a musical soundscape - and landscape - far removed from the high energy performances and releases usually associated with Wolfstone.
As much as Wolfstone is a part of Duncan Chisholm's musical life, his solo works are, by their very nature, a part of Duncan Chisholm.
I caught up with Duncan shortly after Wolfstone's performance at the Pitlochry Festival Theatre in August, and in Part 2 of this Muirsical Discussion we talk a little about those solo ventures and their importance to Duncan, as well as his recent performances with noted Gaelic singer Julie Fowlis.
First, however, Wolfstone, and those twenty-one years...
Introduction: The Birth of the Litter
Ross Muir: So, Duncan. Wolfstone. Twenty one years. And counting.
How the hell did that happen?
Duncan Chisholm: (laughs) Well, the funny thing is it started out more as a an album project. Initially it was myself, Stuart Eaglesham and his brother Struan, and at this stage we weren't full time musicians. Stuart was studying in Aberdeen and I was still working in a bank.
It was a good time to record a Celtic/ folk rock album though as Runrig had paved the way and were making an impact in other areas such as England, Denmark, Germany... and Capercaillie were coming through.
The album, 'Wolfstone', which isn't available any more, was recorded at Rowan Recording Studios in Ross-shire and put out in the summer of 1989, just around the time we played our first big gig was at the Highland Traditional Muisc Festival in Dingwall.
It was also a good time to be playing in the North of Scotland because the 'village hall' music scene in the Highlands was having a resurgence, and we found we could pack them in and get crowds of 200, 300, each night.
We were playing solely in Scotland, but it was a great time, and we knew this was what we wanted to do.
By 1990 we were actually making more money from it than the day jobs, but unfortunately David Foster...
RM: ...who was very much involved in the original recordings as producer, arranger and playing on the tracks...
DC: ...that's right, yes. But by 1990 David had different ideas, or wanted to take it in a different direction maybe... anyway, there was a clear parting of the ways.
This would be June 1990, when we made the decision to quit our jobs.
The timing was right, and things were going pretty well for us, but we were still only really playing the North of Scotland. But in 1991 things really picked up...
Reconciliation (from 'Wolfstone')
Muirsical Conversation with Duncan Chisholm (Part 1)
In 2010 Celtic rock band Wolfstone were celebrating their 21st year of performing and recording, and showing no signs of stopping anytime soon.
Duncan Chisholm, a founder member of the band and one of Scotland's finest fiddle players, is not just an integral part of Wolfstone, he's also sought after by other musicians in a touring capacity, or to feature as a guest musician.
Duncan also records and performs as a solo artist, and 2010 saw the release of his fourth solo album.
'Canaich', like the three albums before it, features a musical soundscape - and landscape - far removed from the high energy performances and releases usually associated with Wolfstone.
As much as Wolfstone is a part of Duncan Chisholm's musical life, his solo works are, by their very nature, a part of Duncan Chisholm.
I caught up with Duncan shortly after Wolfstone's performance at the Pitlochry Festival Theatre in August, and in Part 2 of this Muirsical Discussion we talk a little about those solo ventures and their importance to Duncan, as well as his recent performances with noted Gaelic singer Julie Fowlis.
First, however, Wolfstone, and those twenty-one years...
Introduction: The Birth of the Litter
Ross Muir: So, Duncan. Wolfstone. Twenty one years. And counting.
How the hell did that happen?
Duncan Chisholm: (laughs) Well, the funny thing is it started out more as a an album project. Initially it was myself, Stuart Eaglesham and his brother Struan, and at this stage we weren't full time musicians. Stuart was studying in Aberdeen and I was still working in a bank.
It was a good time to record a Celtic/ folk rock album though as Runrig had paved the way and were making an impact in other areas such as England, Denmark, Germany... and Capercaillie were coming through.
The album, 'Wolfstone', which isn't available any more, was recorded at Rowan Recording Studios in Ross-shire and put out in the summer of 1989, just around the time we played our first big gig was at the Highland Traditional Muisc Festival in Dingwall.
It was also a good time to be playing in the North of Scotland because the 'village hall' music scene in the Highlands was having a resurgence, and we found we could pack them in and get crowds of 200, 300, each night.
We were playing solely in Scotland, but it was a great time, and we knew this was what we wanted to do.
By 1990 we were actually making more money from it than the day jobs, but unfortunately David Foster...
RM: ...who was very much involved in the original recordings as producer, arranger and playing on the tracks...
DC: ...that's right, yes. But by 1990 David had different ideas, or wanted to take it in a different direction maybe... anyway, there was a clear parting of the ways.
This would be June 1990, when we made the decision to quit our jobs.
The timing was right, and things were going pretty well for us, but we were still only really playing the North of Scotland. But in 1991 things really picked up...
Reconciliation (from 'Wolfstone')
The first album, which Duncan refers to as no longer available, was actually re-released on CD in 1994 by Celtic Music, as was 'Wolfstone II', featuring tracks recorded around the same time-frame as the debut.
These releases were originally only available on cassette tape.
II: The Wolf Pack
RM: 'Unleashed', released in 1991, was a significant album for the band...
DC: Yes, I'm very proud of that album, and again the timing was right.
We had signed a deal with Iona Records, friend and musician Phil Cunningham produced the album and helped us enormously with the music, and singer songwriter Ivan Drever joined the band. Suddenly we had moved from predominately instrumentals to a vocal and instruments band, and Ivan made an immediate impact.
He's a great songwriter, a good friend these last twenty years, and we still work together. We had also added other permanent musicians to the band, and that summer got the support slot at Runrig's Loch Lomond concert, at their invitation.
If I remember correctly the album came out right after that, and next thing you know we're playing in Glasgow, at the Queens Hall in Edinburgh, and touring across the entire country.
RM: There is absolutely no doubt the Runrig support slot was a significant factor in the bands progress, but this wasn't riding on their coat-tails. You don't play sell-out shows across the country if you don't have the material or musicality to back it up.
DC: Oh that's right, I agree, but that show opened up doors for us.
These releases were originally only available on cassette tape.
II: The Wolf Pack
RM: 'Unleashed', released in 1991, was a significant album for the band...
DC: Yes, I'm very proud of that album, and again the timing was right.
We had signed a deal with Iona Records, friend and musician Phil Cunningham produced the album and helped us enormously with the music, and singer songwriter Ivan Drever joined the band. Suddenly we had moved from predominately instrumentals to a vocal and instruments band, and Ivan made an immediate impact.
He's a great songwriter, a good friend these last twenty years, and we still work together. We had also added other permanent musicians to the band, and that summer got the support slot at Runrig's Loch Lomond concert, at their invitation.
If I remember correctly the album came out right after that, and next thing you know we're playing in Glasgow, at the Queens Hall in Edinburgh, and touring across the entire country.
RM: There is absolutely no doubt the Runrig support slot was a significant factor in the bands progress, but this wasn't riding on their coat-tails. You don't play sell-out shows across the country if you don't have the material or musicality to back it up.
DC: Oh that's right, I agree, but that show opened up doors for us.
Unleashed: "I'm very proud of that album...the timing was right"
RM: From 'Unleashed' you went from strength to strength, album to album, from 'The Chase' to 'Year of the Dog'. 'Dog' is a particularly strong album.
DC: I agree, 'Year of the Dog' is a great album, and it was a great time, too.
That was 1994. We had signed with Green Linnet Records, an American label, and piper Stevie Saint joined later that year.
RM: Interestingly, around this time I was in California, primarily the Bay Area, and I was telling everyone I could about Wolfstone. I was then made aware that not only were the CD's available in music shops over there, but they were finding their way to the specialist shops that sell 'world music', as African, Asian, Celtic, and other ethnic musical forms are sometimes described.
DC: You lived in America?
RM: No. But this was back when my wife Anne and I took a lot of vacations in California. I had picked up on Wolfstone when 'Unleashed' was released, so to see that album, 'The Chase' and 'Year of the Dog' over there was great, but it was sort of a double take...
DC: That was through Green Linnet, we started to tour there in 1994, and Canada, and have done over a dozen tours in the States. We get great receptions on the West Coast, San Francisco...
RM: ...that all ties in. I couldn't recall if my first sightings of the albums over there were during the '93 or '94 trips. Clearly it was 1994.
For all that 'Year of the Dog' is a cracking album, when I'm asked about the band or where a Wolfstone virgin should start, I don't recommend it first, or the Best Of that was released, or even the live album. I always go with 'The Half Tail'.
As regards songs, arrangements, musicianship, line-up, that album defines Wolfstone for me.
DC: Oh, 'The Half Tail' was a wonderful time and it's probably my favourite, too. When I think of the songs on that album, 'Heart & Soul', 'Gillies'... it described perfectly where we were at that time. It was produced by Chris Harley.
'Year of the Dog' was the last Wolfstone album produced by Phil Cunningham and he did a great job, but I wanted a different production value.
We recorded 'The Half Tail' at the CaVa Recording studios in Glasgow.
RM: Great tour that followed as well.
DC: It was, and that half dozen or so years from 'Unleashed' to 'The Half Tail' and for about a year after, was a great period for the band.
Heart & Soul (from 'The Half Tail') featuring Ivan Drever
RM: From 'Unleashed' you went from strength to strength, album to album, from 'The Chase' to 'Year of the Dog'. 'Dog' is a particularly strong album.
DC: I agree, 'Year of the Dog' is a great album, and it was a great time, too.
That was 1994. We had signed with Green Linnet Records, an American label, and piper Stevie Saint joined later that year.
RM: Interestingly, around this time I was in California, primarily the Bay Area, and I was telling everyone I could about Wolfstone. I was then made aware that not only were the CD's available in music shops over there, but they were finding their way to the specialist shops that sell 'world music', as African, Asian, Celtic, and other ethnic musical forms are sometimes described.
DC: You lived in America?
RM: No. But this was back when my wife Anne and I took a lot of vacations in California. I had picked up on Wolfstone when 'Unleashed' was released, so to see that album, 'The Chase' and 'Year of the Dog' over there was great, but it was sort of a double take...
DC: That was through Green Linnet, we started to tour there in 1994, and Canada, and have done over a dozen tours in the States. We get great receptions on the West Coast, San Francisco...
RM: ...that all ties in. I couldn't recall if my first sightings of the albums over there were during the '93 or '94 trips. Clearly it was 1994.
For all that 'Year of the Dog' is a cracking album, when I'm asked about the band or where a Wolfstone virgin should start, I don't recommend it first, or the Best Of that was released, or even the live album. I always go with 'The Half Tail'.
As regards songs, arrangements, musicianship, line-up, that album defines Wolfstone for me.
DC: Oh, 'The Half Tail' was a wonderful time and it's probably my favourite, too. When I think of the songs on that album, 'Heart & Soul', 'Gillies'... it described perfectly where we were at that time. It was produced by Chris Harley.
'Year of the Dog' was the last Wolfstone album produced by Phil Cunningham and he did a great job, but I wanted a different production value.
We recorded 'The Half Tail' at the CaVa Recording studios in Glasgow.
RM: Great tour that followed as well.
DC: It was, and that half dozen or so years from 'Unleashed' to 'The Half Tail' and for about a year after, was a great period for the band.
Heart & Soul (from 'The Half Tail') featuring Ivan Drever
The Best Of album I refer to is 'Pick of the Litter' and is a great starting point for those unfamiliar with Wolfstone and wishing to get a taste of the band.
It covers 1991 - 1996, 'Unleashed' to 'The Half Tail,' and includes a re-recording of 'Battle,' one of the band's first ever David Foster produced tracks.
III: Lean Years
RM: Following 'The Half Tail', and subsequent tour, there was a dip in the band's fortunes...
DC: Yes. Struan left later in 1996 and by 1998 Ivan had left, and the core was myself, Stuart and Wayne (MacKenzie, who had been bass player since 'Year of The Dog'). Things happen, and I don't blame anyone, but (pauses)... wrong decisions with management, touring places at the wrong times... in Kazakhstan when we probably should have been in Scandinavia, working parts of Europe when we should have been concentrating elsewhere perhaps.
1998 to 2001 was a low period for the band.
RM: Well, that leads me to a specific question, and it's one I've never heard asked because it's the classic case of everyone looking at their feet as they kick stones and no-one saying anything...
Today, Wolfstone have a nice, but relatively small, piece of the musical pie with a loyal fan base, solid string of album releases, and are a strong festival attraction across Europe, especially in Spain where the music fans just love the band.
But Wolfstone should certainly have a bigger slice of that pie.
Those "wrong decisions" and the "low period" you describe, are clearly part of that problem. Would you accept that?
DC: Yes, I think that's true, but I don't regret any of what happened or how it happened, because these things do happen.
RM: Well, that's rock 'n' roll, baby. You're not the first or last to suffer such problems, and you're in the company of about 90% of the pop or rock acts out there. It's the nature of the beast, Duncan.
DC: (laughs) No, you're right, nature of the beast.
RM: And it's not as if you weren't delivering decent product... 'Seven', released in 1999, is another great Wolfstone album and one of my favourites.
DC: 'Seven' has some great songs, and I'm proud or that one too. But then I can honestly say that there is not one album where I've come out of the studio after completion and regretted something we've done, or been disappointed in what we produced. But it was a difficult time, and would be 2001, 2002, before there was... almost a fresh start.
RM: A 21st century Wolfstone reboot?
DC: Yes, you could say that. A recovery, certainly.
RM: Before looking at that Wolfstone recovery, there is one other Wolfstone studio album from the nineties we haven't mentioned, 1998's 'This Strange Place.'
It's certainly different, a little lighter, and it's interesting because Stuart doesn't seem to have contributed to it...
DC: No, and neither did I! (laughs). That was actually an album recorded in 1997 by Ivan and Wayne, and should have been released as 'Drever MacKenzie.'
But this was right in the middle of the period where we were having difficulties, and that included issues with Green Linnett. We were still contracted to do another album, and we ended up with that album having the Wolfstone name on it.
I contributed to it, but I spent no more than two hours in the studio performing my fiddle parts, and Stuart wasn't near it.
RM: Well that explains a great deal, because it always sounded to me like an Ivan Drever solo album backed by Wolfstone. Turns out I'm doing Wayne a dis-service.
DC: Yes, it was always meant to be a project by the two lads.
Brave Boys (from 'Seven') featuring Stuart Eaglesham
It covers 1991 - 1996, 'Unleashed' to 'The Half Tail,' and includes a re-recording of 'Battle,' one of the band's first ever David Foster produced tracks.
III: Lean Years
RM: Following 'The Half Tail', and subsequent tour, there was a dip in the band's fortunes...
DC: Yes. Struan left later in 1996 and by 1998 Ivan had left, and the core was myself, Stuart and Wayne (MacKenzie, who had been bass player since 'Year of The Dog'). Things happen, and I don't blame anyone, but (pauses)... wrong decisions with management, touring places at the wrong times... in Kazakhstan when we probably should have been in Scandinavia, working parts of Europe when we should have been concentrating elsewhere perhaps.
1998 to 2001 was a low period for the band.
RM: Well, that leads me to a specific question, and it's one I've never heard asked because it's the classic case of everyone looking at their feet as they kick stones and no-one saying anything...
Today, Wolfstone have a nice, but relatively small, piece of the musical pie with a loyal fan base, solid string of album releases, and are a strong festival attraction across Europe, especially in Spain where the music fans just love the band.
But Wolfstone should certainly have a bigger slice of that pie.
Those "wrong decisions" and the "low period" you describe, are clearly part of that problem. Would you accept that?
DC: Yes, I think that's true, but I don't regret any of what happened or how it happened, because these things do happen.
RM: Well, that's rock 'n' roll, baby. You're not the first or last to suffer such problems, and you're in the company of about 90% of the pop or rock acts out there. It's the nature of the beast, Duncan.
DC: (laughs) No, you're right, nature of the beast.
RM: And it's not as if you weren't delivering decent product... 'Seven', released in 1999, is another great Wolfstone album and one of my favourites.
DC: 'Seven' has some great songs, and I'm proud or that one too. But then I can honestly say that there is not one album where I've come out of the studio after completion and regretted something we've done, or been disappointed in what we produced. But it was a difficult time, and would be 2001, 2002, before there was... almost a fresh start.
RM: A 21st century Wolfstone reboot?
DC: Yes, you could say that. A recovery, certainly.
RM: Before looking at that Wolfstone recovery, there is one other Wolfstone studio album from the nineties we haven't mentioned, 1998's 'This Strange Place.'
It's certainly different, a little lighter, and it's interesting because Stuart doesn't seem to have contributed to it...
DC: No, and neither did I! (laughs). That was actually an album recorded in 1997 by Ivan and Wayne, and should have been released as 'Drever MacKenzie.'
But this was right in the middle of the period where we were having difficulties, and that included issues with Green Linnett. We were still contracted to do another album, and we ended up with that album having the Wolfstone name on it.
I contributed to it, but I spent no more than two hours in the studio performing my fiddle parts, and Stuart wasn't near it.
RM: Well that explains a great deal, because it always sounded to me like an Ivan Drever solo album backed by Wolfstone. Turns out I'm doing Wayne a dis-service.
DC: Yes, it was always meant to be a project by the two lads.
Brave Boys (from 'Seven') featuring Stuart Eaglesham
I've written a number of articles on marketing over music, or when a band becomes a 'brand.' 'This Strange Place' is a perfect example, albeit one Duncan and the other members of Wolfstone had very little control over.
Here it was a case of the record company taking a Wolfstone label from the drawer, sticking it on the CD cover, and branding the album.
'This Strange Place' also featured Stevie Saint and Andy Simmers (the band's keyboard player at the time), so the album did carry elements of the Wolfstone sound. However Ivan Drever left shortly after these events, in 1998, and sadly Andy Simmers died two years later, which was yet another blow for the band in those leaner years.
Other than the solid and extremely under-rated 'Seven' release of 1999, Wolfstone had retreated to their den at the end of that decade to lick their wounds and heal.
IV: The Re-birth of the Litter
RM: After 'Seven', and stepping out of the Green Linnet contract, you released the live album 'Not Enough Shouting' on your own Once Bitten label, the recordings themselves lifted from Scottish shows around January and February of 2000.
Then began the recovery.
DC: Yes. Like I said earlier there was a regrouping around 2001, 2002, and we had a new impetus.
RM: That led to 'Almost an Island'. Funny thing about that album is I don't automatically cite specific songs from it, or describe it in normal 'good' or 'solid' terms, but use the word 'feel.'
It really does have it's own feel or light rock vibe, while being very much a Wolfstone album. Maybe that has something to do with the fresh start or "new impetus" you mentioned?
DC: I know what you mean, and I think it does have it's own feel.
But I think all our albums have their own feel, they represent where we were at that time as a band, and represent who was in the band.
I was, very recently, just thinking about how many people have been associated with Wolfstone over the years, or contributed, maybe played on a song, and including session players and guest musicians it's over fifty!
But I used that as a strength and took what each musician had to offer, musically or creatively, and incorporated that into our music.
RM: Different textures, different musical flavours, whilst still retaining that Wolfstone sound – and that trademark Duncan Chisholm sound.
DC: Yes. Exactly. But I don't think it has the trademark Duncan Chisholm sound, I think that is defined in my solo work. In the band I'm just one part of the Wolfstone sound. I'm very lucky to have that balance. I can be part of a band with Wolfstone, and then have total control with my solo projects.
RM: Well, Wolfstone have predominately been a six piece, certainly live, and currently are a sextet. But when the band fires on all six, is it not fair to say that a couple of the cylinders might have been bored out to be a little larger?
DC: Stuart and I are the founder members, but if you ever see us in the studio it's a very democratic rehearsal process, and makes for a very creative environment.
It's only when it comes to things such as deciding what song makes an album, or doesn't, that Stuart and myself will have the final say.
RM: That whole concept of taking what each musician or contributor has to offer and using that as a strength, or direction, is certainly true of the 2007 Wolfstone album 'Terra Firma.' Singer songwriter guitarist Ross Hamilton seemed to be very much driving that album.
DC: Yes he did, and he also produced it along with Brian McNeill. I learned a lot about production and studio technique from Ross, and that helped with my own later solo albums, 'Farrar' and 'Canaich.'
But again, it was taking a strength that was available and yes, Ross came in and drove that album. Stuart had little input, but as I mentioned earlier I've never walked away from a studio after completing an album with any regrets or wishing it had been done differently.
These are the Days (from 'Terra Firma') featuring Ross Hamilton
Here it was a case of the record company taking a Wolfstone label from the drawer, sticking it on the CD cover, and branding the album.
'This Strange Place' also featured Stevie Saint and Andy Simmers (the band's keyboard player at the time), so the album did carry elements of the Wolfstone sound. However Ivan Drever left shortly after these events, in 1998, and sadly Andy Simmers died two years later, which was yet another blow for the band in those leaner years.
Other than the solid and extremely under-rated 'Seven' release of 1999, Wolfstone had retreated to their den at the end of that decade to lick their wounds and heal.
IV: The Re-birth of the Litter
RM: After 'Seven', and stepping out of the Green Linnet contract, you released the live album 'Not Enough Shouting' on your own Once Bitten label, the recordings themselves lifted from Scottish shows around January and February of 2000.
Then began the recovery.
DC: Yes. Like I said earlier there was a regrouping around 2001, 2002, and we had a new impetus.
RM: That led to 'Almost an Island'. Funny thing about that album is I don't automatically cite specific songs from it, or describe it in normal 'good' or 'solid' terms, but use the word 'feel.'
It really does have it's own feel or light rock vibe, while being very much a Wolfstone album. Maybe that has something to do with the fresh start or "new impetus" you mentioned?
DC: I know what you mean, and I think it does have it's own feel.
But I think all our albums have their own feel, they represent where we were at that time as a band, and represent who was in the band.
I was, very recently, just thinking about how many people have been associated with Wolfstone over the years, or contributed, maybe played on a song, and including session players and guest musicians it's over fifty!
But I used that as a strength and took what each musician had to offer, musically or creatively, and incorporated that into our music.
RM: Different textures, different musical flavours, whilst still retaining that Wolfstone sound – and that trademark Duncan Chisholm sound.
DC: Yes. Exactly. But I don't think it has the trademark Duncan Chisholm sound, I think that is defined in my solo work. In the band I'm just one part of the Wolfstone sound. I'm very lucky to have that balance. I can be part of a band with Wolfstone, and then have total control with my solo projects.
RM: Well, Wolfstone have predominately been a six piece, certainly live, and currently are a sextet. But when the band fires on all six, is it not fair to say that a couple of the cylinders might have been bored out to be a little larger?
DC: Stuart and I are the founder members, but if you ever see us in the studio it's a very democratic rehearsal process, and makes for a very creative environment.
It's only when it comes to things such as deciding what song makes an album, or doesn't, that Stuart and myself will have the final say.
RM: That whole concept of taking what each musician or contributor has to offer and using that as a strength, or direction, is certainly true of the 2007 Wolfstone album 'Terra Firma.' Singer songwriter guitarist Ross Hamilton seemed to be very much driving that album.
DC: Yes he did, and he also produced it along with Brian McNeill. I learned a lot about production and studio technique from Ross, and that helped with my own later solo albums, 'Farrar' and 'Canaich.'
But again, it was taking a strength that was available and yes, Ross came in and drove that album. Stuart had little input, but as I mentioned earlier I've never walked away from a studio after completing an album with any regrets or wishing it had been done differently.
These are the Days (from 'Terra Firma') featuring Ross Hamilton
DC: 'Terra Firma' is a very good album, but we only play a couple of songs from it in our shows, because it's not truly representative of the current line-up.
RM: And that line-up, in my opinion, is the strongest Wolfstone has ever had, both in individual talent and as a collective whole.
DC: I believe it is too. Without doubt this is the best line-up we have ever had.
RM: Well, when you start with someone of the calibre of Alyn (Cosker) at the back in the engine room...
DC: ...and I know you don't need me to tell you what a great drummer he is.
Then we have Colin (Cunningham) on bass alongside Stuart, Stevie and myself, and Davie (Dunsmuir) is such a great guitarist...
RM: ...and of course the next album would be the first to feature Davie, and this particular line-up.
DC: Yes, which will hopefully truly define the band and where we are now.
RM: And that line-up, in my opinion, is the strongest Wolfstone has ever had, both in individual talent and as a collective whole.
DC: I believe it is too. Without doubt this is the best line-up we have ever had.
RM: Well, when you start with someone of the calibre of Alyn (Cosker) at the back in the engine room...
DC: ...and I know you don't need me to tell you what a great drummer he is.
Then we have Colin (Cunningham) on bass alongside Stuart, Stevie and myself, and Davie (Dunsmuir) is such a great guitarist...
RM: ...and of course the next album would be the first to feature Davie, and this particular line-up.
DC: Yes, which will hopefully truly define the band and where we are now.
"Without doubt this is the best line-up we have ever had"
Meanwhile the band continue to deliver every time they hit a stage, whether it be a club, hall theatre, or festival show, and in Part 2 of 'Muirsical Conversations with Duncan Chisholm', we'll talk about that live environment, the balance Duncan has achieved away from that high energy arena with his solo albums, and a little on his recent collaborative work with singer Julie Fowlis.
Ross Muir
Muirsical Conversation with Duncan Chisholm (Part 1)
August 2010
Audio tracks presented to accompany the Muirsical Conversation article by kind permission of Duncan Chisholm. No infringement of copyright is intended.
Photo credits:
Annie Tuite (Duncan Chisholm)
Craig MacKay (Wolfstone)
Meanwhile the band continue to deliver every time they hit a stage, whether it be a club, hall theatre, or festival show, and in Part 2 of 'Muirsical Conversations with Duncan Chisholm', we'll talk about that live environment, the balance Duncan has achieved away from that high energy arena with his solo albums, and a little on his recent collaborative work with singer Julie Fowlis.
Ross Muir
Muirsical Conversation with Duncan Chisholm (Part 1)
August 2010
Audio tracks presented to accompany the Muirsical Conversation article by kind permission of Duncan Chisholm. No infringement of copyright is intended.
Photo credits:
Annie Tuite (Duncan Chisholm)
Craig MacKay (Wolfstone)
