Today is my daughter Leila’s fourth birthday, and while this occasion brings my thoughts back to the day she was born, the past 24 hours have otherwise been full of fairly devastating news.
If the left can admit to having icons, then two of them have just died. Yesterday it was the great historian and activist Howard Zinn, with whom I had the pleasure of sharing many stages around the US over many years. Much has been written about Zinn’s death at the age of 87, and I think many more people will be discovering his groundbreaking work who may not have heard of him till now.
And then less than a full day later I heard the news that my dear friend, comrade, and fellow musician Alistair Hulett died today. He was thirty years younger than Professor Zinn, 57 years old, give or take a year (I’m shit at remembering birthdays, but he was definitely still years shy of 60). Ally had an aggressive form of cancer in his liver, lungs, and stomach.
I last saw Alistair last summer at his flat in Glasgow where he had lived with his wife Fatima for many years. (Fatima, a wonderful woman about whom Ally wrote his love song, “Militant Red.”) He seemed healthy and spry as usual, with plenty to say about the state of the world as always. He was working on a new song about a Scottish anarchist who had run the English radio broadcast for the Spanish Republic in the 1930s.
I first met Ally in 2005, at least that’s what he said. I seem to recall meeting him earlier than that, but maybe it’s just that I was already familiar with his music and had been to his hometown of Glasgow many times before I actually met him. His reputation preceded him — in my mind he was already one of those enviably great guitarists who along with people like Dick Gaughan had done so much to breath new life into the Scottish folk music tradition. I had also already heard some of his own wonderful compositions, sung by him as well as by other artists.
In 2005 the Scottish left was well mobilized, organizing the people’s response to the G8 meetings that were happening in the wooded countryside not far from Edinburgh. Alistair was involved both as an organizer and a musician, and we hung out in Edinburgh, in Glasgow, outside a detention center somewhere, and out by the G8 meetings in an opulent little town with an unpronounceable Scottish name.
I asked him then if he wanted to do a tour with me in the US. He took me up on that a year or so later and we traveled from Boston to Minneapolis over the course of two weeks or so, doing concerts along the way. Many people who came to our shows were already familiar with Alistair’s music, while many were hearing it for the first time and were generally well impressed with his work as well as his congenial personality, despite the fact that many people reported to me discreetly that they couldn’t understand a word he was saying.
Americans aren’t so good with accents at the best of times, and to make matters worse Alistair was largely doing songs from his Red Clydeside CD, which is a themed recording all about the anti-capitalist/anti-imperialist rebellion that rocked Glasgow in 1917. Naturally the songs from that CD are also sung in a Glaswegian dialect which can only be understood by non-Scottish people in written form, if you take your time.
Alistair was determined to retaliate for my having organized a tour for us in the US, which he did three years later in a big way, organizing a five-week tour for us of Australia and New Zealand from late November 2008 until early January of last year.
Our tour began in Christchurch, New Zealand. This turned out to seem very fitting, since Christchurch is where Alistair moved as a teenager, along with his parents and his sister, in the mid-1960s. He resented having to leave Glasgow, which was at that time a major hotbed of the 1960s global cultural and political renaissance — a renaissance which had decidedly not yet made its way to little Christchurch, New Zealand. Alistair described to me how the streets of this small city were filled with proper English ladies wearing white gloves when he moved there as a restless youth.
The folk scare came to Christchurch, though, as with so many other corners of the world at that time, and at the age of 17 Alistair was in the heart of it. Our tour of New Zealand included a whole bunch of great gigs, but it was also like a tour of the beginning of Alistair’s varied musical career. All along the way on both the south and north islands I met people Alistair hadn’t seen for years or sometimes decades. I cringed as someone gave us a bootleg recording of Alistair as a teenager, figuring wrongly that it would be a reminder of a musically unstable early period, but it turned out to be a fine recording, a vibrant but nuanced rendition of some old songs from the folk tradition.
After two weeks exploring the postcard-perfect New Zealand countryside, smelling a lot of sheep shit, and getting in a car accident while parked, we headed to Sydney. Upon arriving in Australia I discovered a whole other side to Alistair and his impact on the world. Though his Scottish accent never seemed to thin out much, he lived for 25 years in Sydney and was on the ground floor of the Australian punk rock scene, playing in towns and cities throughout Australia with his band, Roaring Jack. The band broke up decades ago but still has a loyal following throughout the country, as I discovered firsthand night after night. In contrast with the nuanced and often quite obscure stories told in the traditional ballads which Alistair rendered so well, Roaring Jack was a brash, in-your-face musical experience, championing the militant end of the Australian labor movement and left-wing causes generally, fueled by equal parts rage against injustice, love of humanity, and alcohol.
Since the 90s Alistair has lived in his native Glasgow, while regularly touring elsewhere in Europe, North America, Australia, and New Zealand. He’s played in various musical ensembles including most recently his band the Malkies, but mostly his work has been as a songwriter and solo performer, also recording and occasionally touring with the great fiddler of Fairport Convention fame, Dave Swarbrick. His more recent songs have run the gamut from a strictly local Glasgow song written to support a campaign to save a public swimming pool to the timelessly beautiful song recorded by June Tabor and others, “He Fades Away.”
“He Fades Away” is about an Australian miner dying young of asbestosis, from massive exposure to asbestos, a long-lasting, daily tragedy of massive proportions fueled by, well, greedy capitalists. It is surely more than a little ironic that Alistair was taken from us at such a young age by the industrial-world epidemic known as cancer, so much like the subject of his most well-known song.
The song is written from the perspective of the wife of a miner who is dying of asbestosis. The melody of the song is so beautiful that quoting the lyrics can’t come close to doing it justice, and I won’t do the song that injustice here — just go to the web and search for “He Fades Away,” it’s right there in various forms.
It is undoubtedly a privilege of someone like Alistair that he will be remembered passionately by people, young and old and on several continents, long after today — by friends, lovers, fellow activists, fellow musicians, and many times as many fans. And he will long be remembered also as one of the innumerable great people, including so many great musicians, who died too young.
On our last tour, so recently, he was meeting new friends and renewing old friendships every single day, so very full of life. Among the friendships he was renewing was that with his elderly parents, who came to our show in Brisbane, a couple hours from where they retired on the east coast of Australia. Though the exact causes of Alistair’s illness will probably never be known, it seems to be a hallmark not just of war, but especially of the industrialized world’s ever-worsening cancer epidemic, that so many parents have to see their children die so young.
January 28, 2010
David Rovics is a musician and activist. His Web site is <www.davidrovics.com>.