The song captures the contrast between the industrial aspects of the river, symbolized by the hammers ding-dong, and the scenic landscapes and leisurely activities associated with it. The career of Fraser Bruce has not been dedicated to folk song, although it has taken up a large part of his life. As a young boy he was a beneficiary of the Norman Buchan Ballads Club at Rutherglen Academy on the South Side of Glasgow. There were many young people from this club who went on to retain an interest in folk song for the rest of their lives, a few made it their career.

In a British House of Commons debate in 1994, Labour Member of Parliament Jimmy Hood ( Clydesdale) recalled the song in a debate about coal mining, however refrained from acceding to members' requests that he sing it. [1] And so it was, totally unprepared for what was ahead, Fraser ‘took to the road’. During the next two years he travelled to many countries and appeared at folk clubs, festival and other venues but didn’t enjoy it as a life style. The tours were fun and appearing on stages in front of audiences was a thrill but the bunking down on people’s floors, waiting around in railway stations and the hours spent in airports plus the limited income was not a great life, especially when you were travelling on your own and, by now, had a family to support. When Fraser was ‘head hunted’ to rejoin the Construction Industry, it was a no brainer and he accepted with little consideration. The song has been covered by various artists over the years, including Andy Stewart and John McDermott. The river Clyde runs through the west of Scotland and has historically been a vital waterway for trade and shipbuilding.

The lyrics of "The Song of the Clyde" evoke a sense of nostalgia and longing for the river, reflecting the deep connection that many Scots feel towards their homeland and its natural beauty. The river Clyde and its significance for shipbuilding played a crucial role during World War II when it became a major hub for ship production to support the war effort. The song gained enormous popularity and became a beloved Scottish anthem, often performed at events and gatherings. In 2007, the song was used as the official theme for the British film "The Rising: Ballad of Mangal Pandey." We have a 10-day return policy, which means you have 10 days after receiving your item to request a return.

In the late 1970s the ‘real’ job became very serious and Fraser was transferred by his employer to a senior position based in London. This was a huge step up for him which he could not refuse. However, it meant severing his connection with the folk scene. Whilst it was a very prestigious job, it didn’t fit in with his musical life so he resigned after two years and decided to have a go at being a full time performer. It was once parodied by Stanley Baxter, who played "Kenneth McColour" singing "The Pong of the Clyde". [ citation needed] It also takes a timely look at the Clyde’s role in slavery in a family-friendly, accessible performance. The Song of the Clyde" is a heartfelt tribute to the river Clyde, which holds great significance and fond memories for the singer. The lyrics depict the beauty and importance of the river as it flows through various Scottish towns and landscapes. The song begins with the singer expressing their happiness to be near the river and how they hold a deep affection for it. They mention that of all Scottish rivers, the Clyde is the dearest to them as it stretches from Leadhills to the sea.

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An early 'booth' recording led to the release of several singles on EMI's Parlophone label. He joined the Carl Rosa opera company, where his performance of the opening aria from Rossini's Barber of Seville resulted in his promotion to principal tenor. He went on to make more than 30 LPs between the mid-1950s and the early 1980s. These ranged from mainstream classical and religious songs, through Broadway musicals to the Scottish popular tradition of Robert Burns and Harry Lauder. It became a little bit more silent than you normally expect. When we got started, after an hour or two it was ok, it was the new norm. We got through things really well.” An added bonus to the tale Karen found out while composing it alongside writer Allan Dunn, was that a Scottish Opera colleague had their own link to the original song. At first it felt a bit alien, a bit austere. The chat over a coffee didn’t happen and the general hubbub in the room became quite silent, people would sit and read their phones or rehearse their music to themselves. The late Ian Gourlay, who wrote The Song of the Clyde, is the father of Morna, who works on reception.

Finbar & Eddie Furey, Bill Clifton, Cyril Tawney and many others benefitted from this. Throughout this time Fraser was developing his career in the Construction Industry. It was a busy but very enjoyable life. Outdoor gigs are always hilarious,” Karen said, “especially if the musicians need to have music. I remember once playing in Stranraer Harbour. My music ended up in Ireland, the wind swept it away! In his early folk club days, Fraser enjoyed the organising of clubs as much as performing and at one time had 6 clubs running at the same time. This allowed him to book travelling, visiting artistes and give them a full weeks work with a night off. In turn it created friendships between him and many touring artistes, so much so that he set up a ‘folk’ agency for artistes either domiciled in Scotland or touring artistes visiting Scotland.

One thing that the production will have to adapt to is being outdoors, something the rehearsals haven’t factored in. The Song of the Clyde" continues to be enjoyed and sung at Scottish events and gatherings, keeping the spirit of the river and its significance alive. Karen said: “Sometimes the rehearsals were a little bit like me shouting in a megaphone. It was fine, we were in a large room and we were restricted to eight people. For the musicians who need to read from music they can use iPads. The singers and the storytellers have it memorised and committed to the brain.