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The 3 Arches of the Old Spey Bridge
A baby plopped on a riverbank beach
Lupins and picnic voices all around me,
The youngest and plumpest
Beneath the small arch.
Engrossed with red plastic bucket and spade
Fingertips numb with gravely sand
My mouth suddenly scrubbed clean
My eyes try to keep up with my running brothers.
Tiny trout tiddlers dart about
Swirling and shifting this way and that
In the calm pool
At the middle arch.
Deep amber ribbed sand with mika sparkling.
Mine green, my school pal’s blue
Our nets on long bamboo canes
Bend as they glide to catch the school.
In late summer level
I hop across the landlocked stepping stones
Oddly laid bare atop the cobbled riverbed
To the big arch.
The other teenagers brave a leap from the bridge
But I just glide into warmer shallows
Where the skins of countless Mayfly
Crust upon stony shelves.
HGN, 2023
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OLD MAN DUNSHEA Hamish Napier, 4th August 2020
Two lads on their bikes
Me and Sam
My friend from up the road
We own this bit -
We are this bit!
Freewheeling between
The long line of landrovers
Parked all along the verges
By the Old Spey Bridge.
Dozens of fishermen here again today.
Stationed along the river
All waders and wellies,
Hats and hand-tied flies,
Rubber and rods.
Every so often
You catch the buzzing quack,
Of a reel winding in.
And great swishes
As they Spey cast this way and that.
Rolling out the red line
Across the surface tension
Of the relentless river.
Perched on our push bikes
Up at McLeod’s corner
The summer evening birdsong
Gives way to a distant drilling drone
A motorbike -
We look to the road end.
Where emerges
the unmistakable silhouette
Of Old Man Dunshea
On his scooter.
A red and white vintage Vespa
The engine: a tamed chain saw
With rattling sputters
His open-face helmet
Encloses a kindly moustache.
Then, his signature thumbs-up.
We return it eagerly.
He is forever clad
in green rubber and Barbour
Save for a bulky life jacket
And fingerless gloves
.
Jutting out behind him
Is the last few feet of his spinning rod
With a bright ribbon
Dancing at the end.
A silvered minnow catches the setting sun.
A pensioner with reels on wheels.
By the end of the summer
We are promoted to a wink.
And maybe Speybridge is his bit too.
In September my mother mentions
“Oh, so sad –
Old Man Dunshea died the other day.”
A heart attack they say,
While fishing.”
What...no!
We’d never see him again.
Tears appearing.
Overreaction.
A hug on the doorstep.
My outburst caught her by surprise.
We didn’t really know him as such.
“Oh come now dearie.
People die, that’s just all part of life.
At least he died doing what he loved best.”
They scatter his ashes on the Spey
At the top of the long pool
Where the river runs slowest
As was his request.
The minister stands before the gathered
on the riverbank
The drone of the eulogy
Soothes the stillness of the gathered.
His arm extends over the sombre black flow
Slowly but surely
He releases a thin steady sprinkle of ash
Until all that remains of Dunshee
Is an impossibly fine dust cloud
Settling on the surface
Slowly sinking.
Something stirs.
More than the current.
Then again, a wee ripple.
Not raindrops.
Good God!
A flick of a wee tail -
Another flash of silver
Darts and bubbles.
Gasp and exclamations.
The murmurings of the mourners
Swell to a panic.
The minister pulls back from the edge
And grasping the urn to his chest,
Mutters something skyward.
He calms the crowd
With outstretched arms.
The pool settles again
As quickly as it was disturbed.
The ceremony resumes.
There was a quiet retribution in it
As Old Man Dunshea
Came gliding by
One last time
On his way from the town
to the afterlife.
To repay his due.
Hamish Napier, 4th August 2020
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RIVERBED
Share my skin
My breath
Rest your brow
In the jawbone of my kin.
Troubles washed away.
Our bedrock bodies,
Smoothed and magnified
By the glacial pool.
Gather my limbs
And pull my world over to yours.
HGN
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After the 2020/2021 pandemic lockdowns, I compiled a new 5-part collection of bonus material made during this time for my first solo album 'The River', called an t’Each Uisge [The Water-Horse]. This is the name given to the kelpie, the wicked (but awesome) river spirit of Scottish folklore.
Over the 92 minutes of an t’Each Uisge [The Water-Horse], I'll share with you the sound of the River Spey, in weather, birdsong and outdoor performances made by the waterside; in folk tales, historical accounts and recent self-penned poems; in famous trad tunes linked to the River Spey and brand new perviously-unheard compositions; all inspired by the life-blood of my local landscape of Strathspey.
Why the 'Water Horse'? .......Well, the river Spey has its very own rare variety of kelpie known as 'an t-Each Ban' (the White Horse), according to James Alan Rennie's book 'Romantic Strathspey'. This notorious water horse sprit would appear on the riverbank, its "saddle, bridle and stirrups of gleaming silver were encrusted with precious stones, white reigns and saddle-cloth of crimson velvet edged with gold." The passer-by would excitedly climb onto its back. Suddenly with a hideous scream, the horse would bolt into the river. As the rider held on for dear life, by some evil magic the skin of their hands would grow over the reigns and the spirit would drag them to their doom in the murky depths.
In the end this release turned out to be an hour and a half minutes worth of new compositions, remixed older music, trad tunes, field recordings, storytelling, narration and poetry recitations, in 5 parts:
Part 1 Child, Part 2 Land, Part 3 Love, Part 4 Spirit and Part 5 Strength.
So, who’s actually featured on an t’Each Uisge [The Water-Horse] EP?...
Karen Hodgson-Pryce - poet and recitation
Jim Mackintosh - poet and recitation
Kenneth Steven - poet and recitation
David Francis - writer and storytelling
Merryn Glover - writer and narration
Marie-Lousie Napier - clarsach and narration
Jarlath Henderson - uilleann pipes
Steve Byrnes - acoustic guitar & snare drum
Innes Watson - acoustic guitar, tenor guitar & fiddle
Duncan Chisholm - fiddle
Will Boyd-Wallis - acoustic guitar
Fraser Stone - drums
Su-a lee - cello and field recordings
Peter Stronach - field recordings
Fergus Napier - fly fishing rod
Hamish Napier - field recordings, wooden flutes, whistles, piano, keyboards, programming, percussion and poems
Musicians who originally performed on the selected and remixed tracks from my albums 'The River' and 'The Woods’:
Sarah Hayes - alto flute
Martin O'Neill - bodhran
James Lindsay - double bass
Steve Byrnes - guitar and drums