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Ata presentation ceremony in the ollices ol the Scottish Development Agency in Edinburgh on 29 Sept, Runrig became the lirst recipients ol platinum discs lrom the Scottish Record Industry Association based on the proportion ol Scottish record-buyers that have so larsuccumbed totheir LP ‘The Cutter and The Clan‘.

The ceremony—other recipients ol discs were Dougie McLean, The Foundry Bar Band, Lismor Records tor ‘The Patter‘ and killed 6-year-old Stuart Anderson tor ‘Bonnie Wee Jeannie McColl’—was held to announce that, alter 18 months as a part-time organisation, SDAlunding

#' B

had allowed the SRIA to take on a lull-time memberotstall, administratorAlison Rae, and thatthe organisation is moving.

Chairman Robin Morton bemoaned ‘the divisive quality that has held everybody back in music‘, and the pervasive ‘Ah kent his laither‘ attitude, but his message was a positive one; that competitors could co-operate in promoting the entire country‘s output.

The presentation at gold, silver and platinum discs was the SRIA inaugurating a system carried out on a somewhat largerscale by its big brother, the British Phonographic Institute, and Runrig were the stars of the day. By lucky coincidence (7), the

ceremony took place at a moment when

Runrigwere releasingtheirtollow-up to ‘The Cutter and The Clan‘. ‘Searchlight‘.

Though not the sound at a band breaking new ground, ‘Searchlight‘ will be eagerly received by the large body ol tans Runrig have built up lrom years ol touring. Both shows at the Playhouse are sold out, and the band can play to packed houses almost anywhere inthe country—and yet inthe south ol England the band lace turrowed brows and bemusement lrorn many who stilllindtheir‘teuchter‘ appeal unlathomable. (Alastair Mabbott)

Runrig, Playhouse, Edinburgh, Tue 24 &Wed 25.


Music by numbers

‘l‘ve never bought a sound-track album

in my Iile. I don‘t know why people buy them.‘ In an upstairs box-room ol London‘s media watering hole, The Groucho Club, contemporary composer Michael Hyman twines his legs

thoughtlully round the arm at his chair

as he concedes that he would consider buying the music lor Bagdad Cale and that he did once ‘acquire' the cassette ol the Mission. ‘I suppose it you go to a lilm, you mightwant to retain something ol it— it the music plays a signiticantpart. . . Butlneverwrite

music purely and simply lor lilm. ll

people bought the soundtrack torThe

Cook The Thiel His Wile and Her Lover

only because it was associated with the lilm, I‘d be disappointed.‘

Hyman and Peter Greenaway have worked together since Nyman‘s sister‘s lriend suggested they be introduced to each other back in the mid-Sixties.

Nyman was a pianist and ‘sort ol

composer' lresh lrom the Royal Academy ol Music, and Greenaway

was only a budding lilm-maker, whose

creations were pigeon-holed into a strictly experimental niche until the unexpected success olThe Draughtsman‘s Contract.

Aparttrom theirsimilarapproaches

and‘shared cinema upbringing‘, having watched French andltalian


new-wave lilms together, Nyman relishes the ‘luxury‘ ol being involved with each project lrom the start instead at being hired alterthe lilm has been edited. ‘There is a scene in The Cook where Michael Gambon is chasing Helen Mirren and he punches her. Peter managed to synchronise my

music to the punch. l lound that incredible, ll be had said “I want something to happen musically when the punch comes“, I wouldn‘t have lelt very tree and I would have come up with an ellect laid overthe music '

Nyman writes his score with its own symphonic shape, something Greenaway respects although he may not be able to honour it exactly. The Cook, he suggests, was music-led. ‘The music, the mood and leeling, dictatedto some extentthewaythe lilm moves. . .The major instrumental, which grinds away with a manically slow tread, was playing on the set all the time. It must have inlluenced the actors subconsciously.‘

lntriguingly, Nyman now hints at a solo luture. ‘Peteruses my music very well but as an outsider not as an insider . . . In live yearstime-ormaybe two years time, maybe tomorrow—l might write my own lilm and my own music.‘ (Stephanie Billen)

nocxsa M2235 mum CLASSICAL 59




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