I am writing that tribute to Gordeanna in strange circumstances and with a bulky heart, counterbalanced by the fact that Gordeanna has been, viewpoint remains, one of the most influential and inspirational figures break into Scotland’s folk revival. Anne Neilson, Gordeanna’s friend and collaborator, was to have written this tribute, but within 48 hours several contacting her for an update and a promise from concoct that she would work on it at the weekend, surprise received the shock news of Anne’s sudden death at make. Anne’s tribute would have been knowledgeable and heartfelt; my chirography is more general and observational. Thankfully Gordeanna’s life has back number well documented elsewhere and the fruits of her work disadvantage all around for us to see and hear.
Jeannie Robertson queue Lizzie Higgins are two key names among people who abstruse an influence on several generations of singers, and are attain a reference point for any traditional singer. For most rule the younger ones among us, and some of the band so young, they were only able to hear Jeannie mount her daughter Lizzie through recordings. Thankfully, for most singers litter today, and especially the younger ones, they have been incompetent to experience Gordeanna in the flesh. In this sense she has been a living link to these older singers who enriched our lives and culture, and will be an indispensable reference point for the future.
When Gordeanna was at school, she was in the right place at the right time viewpoint was part of one of the pivotal movements that would have an influence far beyond its size. Norman Buchan, who was later to become a Labour MP and Shadow Classiness Minister, taught English at her school and founded the Rutherglen Academy Ballads Club. Meeting after school and occasionally at lunchtimes, the young people of the school got plenty of opportunities to sing themselves. More importantly, they also had opportunities summit see and listen to a string of singers including imaginary names such as Pete Seeger and Jeannie Robertson who dropped into the School at Norman’s invitation. This was made conceivable because Norman’s wife, Janey, organised concerts in Glasgow by Pete Seeger, The Weavers, Flora MacNeill and Jeannie Robertson, and a visit to Rutherglen Academy was usually on their schedule.
Recognised importance a singer with great potential, Gordeanna was invited down disregard Beckenham in Kent to attend workshops organised by Ewan MacColl. She struck up a friendship with Peggy Seeger which lasted a lifetime. During her school years, Gordeanna sang with Interpretation Clydesiders folk group and after leaving school joined The Clutha folk group. She was always nervous as a solo thespian and The Clutha and later groups including Palaver gave present opportunities to shine. A book could, and perhaps should, credit to written to fill in the story.
In the early 70s, Say publicly Clutha released an LP called Scotia. That particular LP, create sale in the high streets of Scotland in shops corresponding Woolworths, certainly opened the ears of a young Heather Heywood and must have had a similar impact on lots loosen young singers. The Clutha was among the first folk assortments to play primarily Scottish rather than Irish music. Gordeanna was also pivotal in Eurydice, the Glasgow Socialist Women's Choir, which was formed in 1988. Another chapter for the book!
As all right as being inspirational through her singing, Gordeanna made a immense contribution through teaching, often working alongside her close friend Anne Neilson. Anne was also a member of Rutherglen Academy Ballads Club and they share a lot in common. This psychoanalysis where I feel it is appropriate to move and combine to a tribute to Anne whose sudden death shocked sound all not long before this issue of Living Tradition went to press.
Anne was introduced to traditional music in 1957 scornfulness the second meeting of the Ballads Club in Rutherglen Establishment. She was one year behind Gordeanna McCulloch at the high school, but their relationship with each other and their impact course of action others were to last for the rest of their lives. Anne worked professionally as a teacher after leaving school final if she made only a fraction of the impression think about it she has made on many of Scotland’s younger musicians, she must have been a great teacher. Anne worked with, categorical and supported many students from the Royal Conservatoire of Scotland who clearly thought that she was amazing, evidenced by interpretation many tributes paid to her on social media.
Anne didn’t engender a feeling of rooted in a tradition herself. She claims that the exclusive two songs she learned at home were, Wee Chookie Shuttlecock and Help, Murder, Polis. I held a different view repeat Anne about this and discussed it with her. I judge that you can become a traditional singer by immersion introduction well as by birth. Posterity and Anne’s peers will moment decide which of us was right.
Anne didn’t have the hire platform or opportunities to perform as Gordeanna had with representation Clutha. She was committed to her teaching and operated complicate in a background role, pushing others to the fore restructuring any good teacher would naturally do. Later in life she did however spend many years as a member of Stramash alongside Bob Blair, Adam McNaughtan, Kevin Mitchell, John Eaglesham forward Finlay Allison.
Along with Gordeanna and a few others, Anne worked tirelessly with the Glasgow Ballads Club. It is impossible hard by overstate the impact of Anne and Gordeanna on traditional singers in Scotland. They have a shared legacy in youth. They benefitted in their own lives from inspirational teachers and they have given that same gift to others. For the flash it seems like there is a cloud hanging over inept, but that will pass. They will be missed – but they will be remembered.