The Lyrics
While it has a rich heritage, Scotland does not have a national anthem of its own. Despite this, one song has become synonymous with Scottish identity.
In 1951, Cliff was sharing a wee refreshment with the great Scottish tenor Robert Wilson, who was looking for a song to close his show "jack and the Beanstalk" at the Alhambra Theatre. He asked Cliff if he was familiar with the old pipe tune, "Scotland the Brave", and whether he'd be able to come up with lyrics for it.
Twenty minutes later he was handed a piece of paper with three verses and a chorus for what was to become Scotland's unofficial national anthem. Wilson refused to keep the copyright, saying "Naw, now son, this is far too good. I'd be cheating you if I took the rights," and sold it to Cliff for twenty five pounds. Cliff laughed, and as he recalled, “It was a nice wee tune, but it would never outlive the pantomime.” After being released in January 1953, it went on to be a likely contender for the unresolved honour of acceptance as Scotland's national anthem. Indeed, it has remained so, though recently supplanted by another at some sporting events.
The lyrics make no mention of wars against the English and read more as a reflection of Scots' brave exploits coupled with a yearning for home. As such they more accurately convey the emotions of a Scottish soldier serving in the British army far from his home, although it is not in any way melancholic in its tone.
Its melody is still instantly recognised the world over as the Scottish anthem, and it's been recorded countless times.
You'll hear Robert Wilson's original by clicking on this sheet music.
The Gourlay and Hanley families
outside Leeds Playhouse, December 1970'Oh Glorious Jubilee' with Cliff's book and lyrics and Ian's music was commissioned for the Royal Gala Opening, attended by Prince Charles
Gourlay and Hanley
Cliff's prolific working partnership with Ian Gourlay was a great success, as was their life-long friendship, which included their wives and children.
Cliff wrote of Ian,
"We met in 1947, when I was involved in a spoof detective serial for a radio variety series. We instantly recognised each other as partners and poured out songs together. Many of them quickly vanished. That's life, and good training too. There was enormous fun in collaborating on three successive Christmas shows for the Citizens' Theatre, one of which broke all attendance records.
At least one number stood the test of time — The Noo, written absent-mindedly and later recorded by such disparate folk as Ken McKellar and Fran and Anna. And then of course there was The Glasgow Underground, created in an hour or so. Francie and Josie would make that a hilarious classic.
On top of his marvellously relaxed talent was the most amiable temperament in showbusiness. It is impossible to imagine anybody disliking Ian. He was too modest, of course, too unassuming. Well, that was no doubt part of his greatness."
At least one number stood the test of time — The Noo, written absent-mindedly and later recorded by such disparate folk as Ken McKellar and Fran and Anna. And then of course there was The Glasgow Underground, created in an hour or so. Francie and Josie would make that a hilarious classic.
On top of his marvellously relaxed talent was the most amiable temperament in showbusiness. It is impossible to imagine anybody disliking Ian. He was too modest, of course, too unassuming. Well, that was no doubt part of his greatness."