Nachdem in den letzten Jahren schottische Musiker ihre Tour ausgesprochen häufig mit Inter-Kontinentalflügen in Richtung Japan und neuerdings auch Südamerika beginnen, ergibt sich nur noch selten Gelegenheit, einige Herren auch bei uns begrüßen zu können. Um so schöner jedoch, dass zum zehnjährigen Marina Records Jubiläum David Scott von den Pearlfishers für zwei Soloauftritte in Hamburg und Berlin eingeladen wurde. Bevor er jedoch im Kreuzberger "Privat Club" zu vorgerückter Stunde diesen Samstagabend zu einem wahrhaft unvergesslichen Konzertereignis werden ließ, waren wir nach sieben Jahren zu einem Wiedersehen verabredet.
We came here tonight to celebrate the 10th anniversary of Marina Records.
Could you describe your relationship to them?
I got in contact with Marina through Norman Blake and Duglas T. Stewart - like
so many things. Duglas, Francis Macdonald and I went up to Norman's massive
farmhouse that had a studio in there. Originally we wanted to record a song
but in the end we just went up for fun. At that point Teenage Fanclub featured
on the Marina compilation that came out at that time. They contributed "Some
People Try To Fuck With You" to it. I was really impressed by the way it was
done, with a lovely package and great artwork - and Norman spoke highly of the
guys. I made this album "The Strange Underworld Of The Tall Poppies" and I changed
the way I have come from a long time before. When I was young I was just such
a major label kid. My first deal when I was 21 was with Polygram. From there
I went straight on to Virgin Music and then on to CBS. My goal was always 'major
labels', it was 'be popular on a large scale'. For my album "The Strange Underworld…"
I actually wanted to call the band The Tall Poppies and found Marina a good
choice. They came by almost a week after I got in touch with them. - And that
was it! …You know they always take such good care of their artists and good
music.
It appears to be paradox - being on major labels for such a long time and
then change for an indie label - that finally the small one made you better
known to a broader audience, especially on the continent.
I think that is basically because the bigger companies don't follow the rather
art-related bands with the same interest. Especially internationally they don't
do much. Even though Marina are relatively speaking a small label they are able
to give their artists a very strong support.
After all Marina is a German label. From our point of view it looks like
Scotland is the place where artists get the best possible support by government
and society - so why move over to the continent?
You mean a good support? That is mainly overrated to be honest. Well, I don't
see musicians getting a better support in Scotland than they are getting anywhere
else. Yes, there are some schemes that you can apply to get some money. And
I got some by the Scottish Arts Council to do "Sky Meadows". I've got to tell
you, the art schemes have been in existence for 50 or 60 years - and it is only
for the last two years that people are even considering giving money to pop
musicians. I am one of the people shouting at them for years and years and years
to take pop music more seriously. And not only I but also all the people from
the Glasgow music scene - for many years said 'get pop music properly supported!'
And it only started to get better in the last couple of years. On the other
hand, there are not many good record labels in Scotland. There is Francis Macdonald's
label, Shoeshine. But Francis puts in more American artists then he does Scottish
pop.
Apart from that Scotland seems to breed a lot of talented Musicians.
I think, first and almost, most cultures have their strengths. And what is strongest
in Scottish culture is the culture of songwriting, the traditional songwriting.
It is a very, very heavily brilliant sort of tradition. The traditional Scottish
folk song went to America into country music and after country music in hillbilly
music and rock 'n' roll and then set back into Scotland. Funny enough, Bob Dylan
did two albums with international songs some years ago, a number of those songs
were of Scottish origin. You know there is a melodic sensibility in Scottish
music that is undeniable.
Talking about melodies, the Pearlfishers' sound is not only unique but especially
very consistent. The continuity in your work is unusual.
Well … I suppose that is just my sensibility and maybe my singing. People tend
to say, 'Oh, The Pearlfishers are obviously influenced by Brian Wilson and Paul
McCartney'. I say, that is true to a certain extent but I don't see there is
any band on the planet that makes a record quite like The Pearlfishers. You
know what I mean? Don't get me wrong, whether they are good records or bad records
- by no means said that everybody has to like them. I think there are a lot
of people that hate my music, fair enough, but a lot of people do love it. But
one thing is that I think everyone with a brain can see that there is something
unique about those records. That is just because they are made in a very pure
way. You know there is really no compromise involved in the making of those
records. Basically I don't care. I care as I want to make beautiful things and
I always want people to love them but if they don't I won't die from it, you
know. Well, my mates will like it. I think, a lot of people actually make music
to have something decent to listen to. It may be that we do another five Pearlfishers
records and they still sound like The Pearlfishers, you know, I'll love to live
with that - and so do you! (Laughs)
Does "My Dad The Weatherfan" from "Sky Meadows" refer to the Scotts' family
life?
There is a joke in our family. My dad is obsessed with weather reports. Not
the weather, not like all this talking a bit "Oh, it is sunny or it was cold
yesterday". Not that kinda stuff. But he already thinks that the BBC gets the
weather report right every time. Absolutely crank, you know. So I am always
trying to catch him "Hey, you know dad they got it wrong yesterday". And he
always goes pain-stakenly "No, no, they got it right. You got it wrong". I just
think it is one of these little quotes that make life worth living. I love people
for these kinda things. There are a lot of funny lines in that song. I didn't
want my dad to hear this song until it was done. He didn't even know it existed
when he caught it on the album. I came to him and said: "That's my new record
dad". "It looks great David, it looks great … My Dad The Weatherfan!?" (Laughs)
He loved it after all.
There is also this instrumental song called "Berlin" that sounds different
from the other songs of the album - it sounds a bit like a 70s TV theme.
Funny enough, it was written after last time I was here. I just had the idea
for the tune and that's why I called it "Berlin". Yes! It is quite an unusual
one. It is in the middle of the album just between the first and the second
half. See we usually have an instrumental in the middle of the album.
You roaded up for this gig in Berlin. Although you are on a German label
it is really hard to see you here. You are around in Scotland a lot but not
on the continent.
I come when I can. I am actually a busy man, you see, I produce records,
I am involved in lots of different music projects, I present for the BBC and
I am doing radio a lot. Life is really busy! I would love to come and play more.
It is such a great experience. I hope I can do more German shows. I'd love to
bring the string players and the band, you know. That would be fabulous.
Do you have the intention of maybe running your own label?
NO! I have a brain. I want to have a happy life!
One of your personal influences, Brian Wilson, just set his "Smile" album
on to stage. What do you think about it?
It is unbelievable. I saw four of the shows. It was an incredible piece
of music. If he releases it today, in 2004, it would be radical. There is nothing
on the planet like it; it is totally, totally unique American music and one
of the most important pieces in music ever written, in my view. And of course
it didn't happen in the first place because of an act of utter sabotage by the
other Beach Boys, you know, who were too dumb to get the fact that they were
working with a genius - luckily for them otherwise they would be all pumping
gas or cleaning lavatories, right? And yet when it came the time to support
this guy, the gut laid the golden egg, they sabotaged it. You know, and now,
37 years later, the guy is standing there with the most incredible band and
the love that he is getting from his audiences is convincing him that actually
he was right after all.
What do you think makes the Beach Boys still important nowadays?
To me the Beach Boys are not important at all. Brian Wilson is important. I
am not interested in the Beach Boys - I am interested in the records that Brian
Wilson made for the Beach Boys and the way he used their voices. Brian Wilson
is for me the pre-eminent artist of his musical age. Certainly the most important
figure in contemporary music. I don't say rock 'n' roll - because that obviously
would be Elvis Presley. But in terms of the development of contemporary music,
in terms of making music as culturally and emotionally sophisticated as the
best classical music then Brian Wilson has no rival.
Not even Paul McCartney?
No, definitely not. Well, I think McCartney's achievement is on a different
level - like McCartney is a genius, too, you know. For me McCartney's achievement
is quiet distinct from Brian Wilson's. He is great in his own way. But to me
Wilson is truly important in the way that gasoline is important and the cars
are important, Wilson is important. Not that any of us are! Like all of us young
guys - well, young guys, look at me! (Laughs) - trying to make music there is
no chance that we can approach Brian Wilson …or Paul McCartney. You know you
just have to give your best! …And that is not good enough!
Favourite B-side?
Brian Wilson "You're Welcome" (Heroes and Villains) and Paul McCartney has got
the best B-sides consistently I think.
Julia Spönemann / Carsten Scheef
Aktuelles Album: "Sky Meadows" (Marina)
Internet: www.pearlfishers.co.uk