I first met Ewan and Peggy in the summer of 1962 when they came up to Glasgow to record material for what eventually became the radio ballad "On the Edge". I had just left school and our English teacher Norman Buchan had organised a group of young people to be available for recording. The two females stayed with Peggy at Norman's house -- for the whole day, fuelled with snacks by his wife Janey, who disappeared for the rest of the time -- and the lads went with Norman and Ewan to Matt McGinn's house, where they were left alone with Ewan.

Peggy was a most empathetic interviewer and the other Anne and I relaxed until it seemed as if there was the equivalent of a 'stream of consciousness' release. The two of us came away feeling valued, vindicated and more in touch with our feelings than either of us expected!

It was quite a few years later before I saw them again (in performance at Kilmarnock Folk Club). I was well aware of Ewan's contribution to traditional and political song, and Peggy's background in American tradition -- but I wasn't prepared for her recognising me when I went in a bit early, and quoting me one of the lines from our long-past interview that had made it into the Radio Ballad! They did a great night, as you would expect, but at the end I was in awe of Ewan's skill and depth of knowledge -- and stunned by Peggy's ability to relate on a personal level. (Truthfully, I doubt I could have hacked it at a Critics Group meeting, being too insecure at the time, so Peggy's 'softer' approach was more acceptable to me.)

The last time I saw them both was a performance in the Washington Street Arts Centre in Glasgow, when they must have known that Ewan was dying, and there were rumours about. There were no obvious compromises in their programming (although, with hindsight, Peggy was probably quite protective), and the evening ended with 'The Joy of Living', which was completely unknown to us. I looked along the row and saw Norman Buchan with tears on his cheeks, and he wasn't the only one.

A major figure whose influence has yet to be adequately measured -- but I do wonder how readily I would have recognised his importance without Peggy's 'mediation'? (Have to explain that my main influence as far as traditional music is concerned was the aforementioned Norman Buchan, who set up a Ballads Club at our school Rutherglen Academy in 1957, and who introduced us to singers like Jeannie Robertson. Jimmy MacBeath, Pete Seeger, The Weavers etc.)