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Dark Harvest

by Malcolm MacWatt

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1.
Warm blows the south wind It feels good on your skin but it carries a message so cold It whispers of terror, it whispers of error It tells you to stay with the past and the present and fear the unknown The kirk and the kaleyard Dogma and romantic notions of nation pull at your heart Highlands and lowlands, my clan and your clan Lines drawn on paper and drawn in the sand to keep us apart They gather against us Those with their own vested interests to keep us in chains So rise like a rogue wave Be free of the old feudal ways and be brave, be brave So come to the hustings Come to the gatherings Come to the polling stations in droves and make yourself known Cold is the north wind Strong is the north wind Sowing the seeds of autonomy wherever their blown
2.
The church and the crown, the church and the crown With sceptre and scripture they keep a man down They tether my soul with godfear and gibbet They tell me to keep my poor eyes on the ground One day I was walking on Blackheath’s green pasture I heard the words of the preacher John Ball He told me that kings were no richer or better In the eyes of the Lord than a peasant in thrall To a poor man like me his words were like manna They gave me the strength to lift up my eyes And clearly I saw how the poor and weak suffer While the nobles and bishops grow fat on their lies And just for a moment, one glorious moment The poor and the workers rise up like a wave But the church and the crown with brute force and cunning Harness us back to the yoke once again Maybe one day there’ll be streets named for Tyler Or a fine school for children that bears John Ball’s name But money and greed have a power compelling I fear the poor will be treated the same
3.
Red River woman you’re breaking my heart I wish I could pick you up and hold you in my arms But you've been way too long in the water Somebody’s daughter used and thrown away Red River woman I feel so ashamed That somebody, probably a man like me, could treat you this way But you ain’t the first brown skin girl to float down here I fear you won’t be the last CH: Upstream nobody heard your screams and cries Downstream nobody really cares how you died Just another native girl who strayed off the reservation First Nation, last in line again Red River woman you’re so far from home Flotsam and jetsam of flesh and bone Failed by the system, lost to the world Dead girl, just another dead girl Red River woman take back your name Jane Doe no longer you are Tina Fontaine I hope you find justice, I hope you find peace We grieve, the river runs deep
4.
I never saw you with whip in your hand I never heard you give your commands Did the 60 poor people you owned show willing? To do your bidding? I only knew the family man Hugh Junor, my father, the family man I never saw you at the slave market I never saw you as the devil incarnate What did it feel like to bid for my mother? Did you love her? I only knew you as my own dear father CH: Eliza, Eliza Junor’s my name My father a Scotsman, my mother a slave Black bodies toil ‘neath the Caribbean sun I love my father but I hate what he’s done I was born in Guyana, across the great sea Baptised in the church at Rosemarkie In Edinburgh and London I tutored young minds. My life was fine. Though I wonder if mother would be proud of me I heard Frederick Douglass speak in the Borders With such passion to free all his sisters and brothers To abolish this cruel trade of ill gotten gains. Shackles and chains I’m living free while my people suffer So father I ask you when you look at me Am I flesh of your flesh? Or your property? Can bondage and love even be reconciled? Explain to your child As I try to live with the empire in me A black British woman with the empire in me
5.
On the road to Ullapool from Gairloch on Scotland’s western shore There lies a wee dark island where seeds of death were sown In Gruinard’s lonely silence, war crimes were conceived For clouds of doom like a plague of Egypt to float down on a German breeze Men in masks from Porton Down test bombs of mass destruction Then they burned the sheep that died to prove the weapon worked to Winston’s satisfaction CH: Dark Harvest, Dark Harvest, Dark Harvest You reap what you sow from a Dark Harvest Now thank god the war was won without biological warfare being deployed But spores of death lay sleeping in the ground in Gruinard’s poisoned soil Scottish land lay quarantined and deemed too dangerous to set foot on Too much expense to make it safe so for decades the land was forgotten (until the) Eco-warfare, eco-terror call it what you will but without their intervention Gruinard would be off limits still They dug the soil and sent a sample back from whence it came and finally the government cleaned up the dirty secret mess they made Now Gruinard’s safe for all to walk again, Anthrax Island, Isle of Death no longer is her name And to this day no one revealed the names of those compelled But Gruinard knows and Gruinard keeps her secrets to herself And here’s to the Dark Harvest Commando, who they were only Gruinard knows Sometimes direct action is the only way to go when dark forces rule and the powers that be ignore And one generation’s terrorist or political prisoner is the next generation’s activist or politician You reap what you sow
6.
When I was a cowboy out on the Western Plain I made myself a fortune, working hard on the bridle reins Come a cow-cow yippee come cow-cow yippee, yippee yay I saw a great white buffalo out on the western plain It said I’m hiding from Bill Cody, he’s trying to take my name Come a cow-cow yippee, come cow-cow yippee, yippee yay I met the ghost of Custer out on the western plain He said don’t believe the hype son legends can be made Come a cow-cow yippee, come cow-cow yippee, yippee yay I met Scotty Philip out on the western plain I met Jesse Chisholm out on the western plain I saw those Scottish drovers won’t see their likes again Come a cow-cow yippee, come cow-cow yippee, yippee yay Sitting Bull and Crazy Horse were out on the western plain They said sit and have a smoke son, then we’ll be on our way Come a cow-cow yippee, come cow-cow yippee yippee yay
7.
Hung, drawn and quartered, was there anything so cruel To make a fine example to bolster tyrant rule A punishment so monstrous, devised by monarchy The last to die this way a Scotsman Brave David Tyrie In seventeen hundred and eighty two in Portsmouth, Southsea A navy clerk he was accused name of David Tyrie Put on trial for treason, a crime against the crown For conspiring with a Frenchman and guilty he was found By all accounts his gruesome end was bravely met that day 100,000 citizens cheered and clapped the deadly play With head held high, eyes ablaze and silent dignity The King’s justice upon him fell with inhumanity Hoisted high by the neck til he near passed out for good His head cut off, his heart cut out, his private parts removed His body chopped and quartered then buried in the sand But the good people of Portsmouth were not content with that They dug him up, ripped at his corpse to take a trophy home The women pushed and pulled to dip silk handkerchiefs in blood His severed head was stole away for voyeurs keen to pay Portsmouth showed its ugly side on that dreadful day For the people of the Kingdom, this was the final straw They vowed to end this spectacle of death for evermore So the brutal act of punishment passed into history And we no longer bow and scrape or have to bend the knee
8.
The nightjar used to sing so sweetly Pure heaven in his song The spinning world would slow and listen On summer nights still and warm The other birds would hear the nightjar And tried to sing as fine But the nightjar laughed and the nightjar boasted You’ll never have a voice like mine The nightjar sung his own high praises He’d sing too long and loud The other birds they all fell silent For the nightjar drowned them out All the other birds were full of sorrow To hear the nightjar’s scorn For a songbird’s soul is full of music It’s the chorus of the dawn One day the old world gods were walking Through the woods and fields Hedgerows hushed and meadows mute Just one bird did they hear They asked the nightjar what was wrong Where have all the other songbirds gone The nightjar puffed his chest and said my song is the best The songs of all the other birds are not fit to be heard The old gods said we all agree, your song is heavenly But every voice and melody has its worth Pride and vanity shall be your curse So we’re giving you the voice that you deserve
9.
There’s a man called Scotty Philip in the Cowboy Hall of Fame Born in Dallas Morayshire in 1858 He headed west to dig for gold but the Black Hills left him poor and cold All he found was an empty hole so he tried another way When America was born on Independence Day 50 million buffalo roamed the western plains When 1900 came around a scant 500 walked the ground Wiped out to put the red man down, a policy insane CH: Cowboys and Indians, they understand The sound of buffalo thunder on American land Cowboys and Indians know deep down inside When the last buffalo passes, the heart of America dies Scotty wed a pretty girl and she was half Cheyenne They started raising cattle on native treaty land Pretty soon they had a ranch, and Scotty thought he saw a chance To save the bison bring them back and make a final stand Crazy Horse and Red Cloud considered him a friend For America’s first peoples he tried to do his best A visionary with a dream to see the bison herds run free A nation’s soul could be redeemed, a symbol of the west Bodhran: Dave Martin
10.
I left my woman on dry land, my best harpoon was in my hand As I set out for a year at sea to hunt the whale in waters deep She told me not to go Leave the beasts to swim in peace, don’t go to sea no more The tide was high at the Port of Leith, our hunting ground the great south sea The north wind filled our eager sails, we seek our fortune and the whale She told me not to go You can be a man with your feet on land, just leave the whale alone CH: She told me not to go, not to go, not to go, not to go But my ears and my eyes and my heart and my mind all said no When we arrived at the killing grounds, the whales were blowing all around Blue water quickly turned to red when all the whales we caught were dead She told me not to go This bloody toil for the sake of oil, will damn your very soul I left my woman on dry land, my offshore bag was in my hand Flying out to the cold North Sea, to drill for oil and gasoline She told me not to go Will you not learn, we will crash and burn, we don’t have long to go Well here we are in a few more years, the seas are dead and the air’s not clear The water isn’t safe to drink, our greed has pushed us past the brink She told me not to go Now it’s too late, to close the gate, she said I told you so
11.
It’s hard when the soil is not willing to give up its yield I would dream of a garden with statues and flowers instead of this field But who’s got the time or the money for flowers and wild honey bees? It’s the harrow we have on this hard highland ground and heather to clear I once met a girl at a fair, at a stall raising funds for the kirk Her father owns all the estate and the land that my family once worked She offered me something to try in the hope that maybe I’d buy An oatcake with butter and honey so sweet that I bitterly sighed Ch: She looks at heather and sees purple flowers and bees Grouse on the wing and the guns when the summer is high I look at heather and see burning and smoke on the breeze I see a rich land while scraping a living and that doesn’t seem right to me I can hear talk of rewilding, another tax break dressed in green When most of the highlands and islands are privately owned so it seems I can see thousands of acres for pheasant and grouse and the deer All there for the killing, too few make good livings round here I fear the highlands becoming parks for a new monied clan As people head south to the big towns and cities for jobs and a better chance And who could blame them for leaving but clearances come at a cost And they’ll open a jar of wild heather honey and taste of a life they have lost
12.
The archer checked his bow that morning, six feet of finest yew 100 lbs of stored up power to cast an arrow long and true He learned his art as a young green lad with the men out on the village common His skill and strength and eye grew keen but it takes years to grow a bowman He next inspected every arrow, he ran them through his hands The fletchings tight, the bodkin sharp, the shaft was straight and balanced Each arrow crafted for the bow, one no use without the other Muscle, sinew, skin and bone and wood all worked together Is there really art in war amongst the bloody broken slain? The bowman lets his arrow soar to arc and fall like deadly rain Only with bow and shaft in perfect tune and body, mind and spirit one Can the archer beat back lance and steel but not so with the gun The bow is cut from living wood and seasoned by the years The gun is cast like any tool from the cool minds of engineers A bowman like the tree is grown but any child can pull a trigger Oh the archer’s days are counting down as the guns get ever bigger When the last bowman shoots his final arrow, when fletcher and bowyer cease to trade Some will mourn tradition passing, some will say that progress has been made The alchemy of gunpowder transformed into the atom bomb And the practice butts no longer stand where the common land is gone
13.
Wake up Maggie there’s bad men coming, it’s time for us to go They’ll have more than killing me on their mind if you’re alone Wake up Maggie the baby’s wailing and I can’t hush his cries I swear the bairn he knows what’s coming and he’s just as feared as I CH: I took their money and spent it No mercy will be showed They told me and they meant it They would take my body and soul Wake up Maggie I see you dreaming of what I’ll never know But if we’re not gone by morning Maggie then we will dream no more Wake up Maggie your head’s still reeling, what fun we had last night But all the drink and drugs we’re using may well cost us our lives County lines I crossed for them with substances controlled But drugs and money I stole from them, now I can’t pay what I owe Wake up Maggie please wake up Maggie, it’s time for us to go Wake up Maggie please wake up Maggie, your body’s so pale and cold
14.
I was born where British Empire hand once gave command Blessed with whisky in my mother’s land The blood of nations mix to make this man I was raised where Arctic storms break on the Moray shore I’ve worked the North Sea rigs that keep us warm This is where my own kids were born I know this land from coast to coast, from Wick to Gretna Green I love her fault lines and her golden seams It’s where I walk in all my hopes and dreams And I have hopes that Scotland’s future lies in her own hands On her own rocky feet she’ll proudly stand And I’ll be there to see that day first hand CH: You don’t have to be born north of the Tweed To know exactly where your true heart lives The soil beneath my feet cares not for race or creed Half my blood and all my heart I give I’m connected to this land. This semi-Scotsman And I have hopes, like tartan wove of many coloured threads We’ll weave a nation strong, just and fair After all we’re a’ Jock Tamson’s bairns

about

Right from the opening song I'm laying out my personal politics and beliefs on this album, hopefully with sensitivity and compassion but without apology. As the album title suggests, this is a sombre collection of songs gleaned from the shady side of history with underlying themes of karma and repercussion. The lyrics speak of horror, violence and oppression but there’s also heroism, bravery and love too.

I didn't set out to make such a heavy album but it's impossible not to be affected by what is happening in the world today so things took a darker turn as recording progressed. Like Settler, most of these songs were recorded at home (aka But n Ben Studio) and we kept the finished tracks as natural sounding as possible. I don’t read or write music. I have very basic equipment with no recording software so when I’m playing a fiddle part I need to be aware of what the banjo might do. For me, it’s a very immediate and satisfying way to make music.

I hope the deep respect I have for tradition and heritage is evident but I consider myself a contemporary folk artist. Folk music shouldn't be stuck in the past. It’s constantly being written and rewritten, and while I might throw a little light onto certain historical events, I’m also trying to create new stories and songs that reflect on life today. I was so invested in these songs that I considered every aspect to the point where I was writing and arranging for guest artists I hadn’t even approached yet. Had Angeline Morrison not agreed to sing on “Empire In Me” I probably wouldn’t have recorded it. As I was putting the title track “Dark Harvest” together I could hear Nathan Bell’s voice and guitar. For “Out On The Western Plain” I wanted someone who could play bottleneck blues with all of Rory Gallagher’s fire and sensitivity and we found it in Ireland's Pat McManus.

I'm indebted to my label Need To Know Music for their steadfast support. Thinking back to September 6th 2020 when I received an email out of the blue from Brian Brinkerhoff in California. He’d just been tipped off about ‘Skail’ from his friends at Americana Highways who gave the EP a glowing review. Said he’d been a music producer for much of his life and mentioned some of the great artists he’s worked with… and he’s keen to work with me!
Over the next few days we talk politics, family, books, films, history, cooking, Scotland, America and of course music and pretty soon the conversation comes around to how we could collaborate on an album and what form it might take.
That first contact was the start of the most important musical relationship of my life and I now count Brian as a personal friend and mentor. Together we released ‘Settler’ in November 2021 and here we are again two years later with ‘Dark Harvest’. To work with someone who has a real passion for the art of music is a privilege, an education and a huge boost to my confidence as a songwriter and musician.
Finally, a huge thank you to everyone who continues to support me on this journey. You allow me to continue producing music and to keep my old Toyota rolling up and down the road. I couldn't do this without you.

credits

released January 25, 2024

All songs, music, instrumentation and arrangements by Malcolm MacWatt except where stated in the individual song descriptions.
Produced by Malcolm MacWatt and Brian Brinkerhoff
Recorded at But n Ben Studio and L-Sound, London
Mixed by Phil Dearing at L-Sound
Mastered by Alex McCullough at True East Mastering Nashville TN
Cover Linocut by Matilda Trevitt
Photography by Luke O’Shea-Phillips and Gary Paul

My sincere thanks to Brian Brinkerhoff at Need To Know Music, Phil Dearing, Angeline Morrison, Nathan Bell, Pat McManus, Shannon Hynes, Linda Moylen, Aimee Leonard, Ian MacWatt, Dave Martin, Gillian MacWatt, G7th Capos, Rotosound Strings, Adam Dawson, G Promo PR and Lucky Dice NL.

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Malcolm MacWatt London, UK

“MacWatt will doubtless be considered among the best of the new breed of folksingers and songwriters, who speak of the past as a way to perhaps understand it and move forward” Stephen Rapid, Lonesome Highway

“He shines as a singer and he shines as an interpreter of the eternal folk songbook,” Tom Brosseau, The Great American Folk Show, North Dakota
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